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Front Cover: Mobile Chandelier 10, Michael Anastassiades The MC 10 is the first wall mounted mobile. The first mobiles were made in 2008 and in 2015 Michael Anastassiades presented the 10, along with four other models, as an extension of the work he started back then. Hand made to order in black patinated brass and mouth blown spheres, each mobile has individual characteristics, - it’s own serial number and is designed according to the weight of the mouth blown chandelier. Due to the fact it has to be in perfect equilibrium, no two mobiles are identical!Â




Design. Process. Manage. Integrated lighting solutions for residences, art galleries & museums, work spaces, retail and hospitality. Call or write to us for a Lighting Tour to experience the latest in lighting design & technology. Tour Timings: 6 pm to 9 pm (except Sundays). T Delhi: +91 11 26809378/79 T Mumbai: +91 22 26612501/02 E info@visavislights.com W www.visavisindia.com

vis Ă vis Experience Centre, New Delhi



[sep/oct] 62 David Weeks

details 10 Editorial Comment Editor’s Note. 12 Contributors Professionals that contributed to the issue. 14 Tribute In memory of industry visionaries. 16 Eye Opener As If It Were Already Here, Rose Kennedy Greenway Park. 18 Focal Point Villa Bougainville, Nice, France. 20 Drawing Board Our preview of proposed projects.

FEATURE STORY 46 Conduiting Trends 48 Michael Anastassiades 50 Paul Cocksedge 52 Brand van Egmond 54 Kinetura 56 .PSLAB 58 Lee Broom 60 Yellow Goat Design 62 David Weeks 64 Lasvit 66 Bec Brittain 68 Wonderglass 70 Anglepoise 76 Louis Poulsen

22 Spotlight A selection of brand new projects from around the world. 28 Snapshot Introducing Design Matrix. 30 Folio The Busride Studio. 34 Lighting Talk In conversation with Sameep Padora. 40 Interview Andreas Schulz of Licht Kunst Licht talks about his fascination with light.

34 Sameep Padora

PROJECTS 82 House Lights An Introduction 84 House On The Cliff, Alicante, Spain Fran Silvestre Arquitectos designs a pristine white Mediterranean abode. 90 Library House, Bangalore Khosla Associates creates a house for a family of ardent readers. 96 Dewan Residence, Gurgaon Design Matrix narrates a strong graphic language through architectural lighting. 100 Pied-a-terre, Chennai Mancini Enterprises uses light to unify varied spaces of a home to its central core. 104 Brick Kiln House, Alibaug SPASM Design arcticulates spaces through light to add soul to a home. 108 The Cocoon, Mumbai KNS Architects design an apartment that layers colours on an elegant white canvas. 112 Fort House, Hyderabad sP+a creates a home demonstrating a dramatic transition from natural to intended light. 118 Beacon House, Singapore WOW Architects creates a light-infused, house by the sea in Sentosa.

* The opinions, beliefs and viewpoints expressed by the various authors in this magazine do not necessarily reflect the opinions, beliefs, viewpoints or official policies of mondo*arc india.



[sep/oct] 84 House on the Cliff

PROJECTS 124 Villa on ECR, Chennai Shripal and Venkat Architects and lighting consultant Fifth Season define ‘spaces make places.’ 128 K Lagoon, Alibaug Malik Architecture makes light the protagonist to facilitate visual transitions. 134 Branded Residences Leading Indian developer highlights the importance of lighting in branded designer homes.

154 Falaknuma Palace

ART & DESIGN 140 Requiems King Lear Hanna Abd El Nour reinterprets Shakespeare with architect Mazen Chamseddine and lighting designer Martin Sirois. 146 Tree of Codes - MIF Olafur Eliasson designs the set for Wayne McGregor’s ballet based on Jonathan Safran Foer’s novel. 148 An Additive Mix Liz West introduces her latest psychedelic light experience. 150 Projecting Change, New York In conversation with Android Jones for the Racing Extinction/Projecting Change Project. 154 Falaknuma Palace, Hyderabad A photo essay - Bharath Ramamrutham. 162 Sir Peter Cook Vishal K Dar meticulously articulates Sir Peter Cook’s drawings. 166 Lighting Detectives A forum to discuss the future of humanity and better light. 168 Exhibition: Nightscape 2050 Celebrating 25 years of LPA. 170 Chase the Dark IALD’s Chase the Dark for the first time in India. 172 PLDC 2015, Rome A Professional Lighting Design Convention.

TECHNOLOGY 174 Little Sun Project Femke Gow visits Tanzania with Olafur Eliasson’s Little Sun solar lamps. 176 Case Study: Cube Kingdom Fluorescent cubes form the dynamic facade of the Reyno de Navarra Arena in Pamplona, Spain. 178 Bench Test David Morgan looks at Mike Stoane Lighting’s TTX2. 180 Comment Dr Geoff Archenhold discusses the platform for connected lighting. 182 Light Sources and Gear A selection of light sources and gear products. 186 Event Calendar Your global show and conference guide.

In Issue 3, the article titled ‘In The Mood For Light’ (pg. 116) mistakenly omitted the artist’s name in the given images. They refer to: Katho Upanishad, 2011. Deathlessness, by Ashish Avikunthak Vakratunda Swaha, 2010. Deathlessness, by Ashish Avikunthak We apologize for the omission. In case you have not received your copy of Issue #03 of mondo*arc india, email us at: mondoarc@stir.lighting



[editorial] Festivities are in the air, and it is that time when curiosity peaks and we begin to entertain the ideas that have been pushed aside year long – a little nip and tuck in our personal space, maybe a change in the ambience, perhaps a newfangled accessory; but what we seek is to inject soul into our space. Our thoughts are increasingly ‘Homeward Bound’ and we fiddle to find the perfect medium. Le Corbusier speaks about light in a residence as a ‘purifying brightness that illuminates, unveils and shines through.’ Richard Neutra talks about the ‘radical opening of the building’s skin to the outside world, creating transparencies.’ Tadao Ando attempts to ‘build velvety darkness suited to blurring contours and stripping objects of their gravity.’ And us, we pursue the search for soul through light, and dedicate Issue #04 of mondo*arc india to the personal realm, to homes. With a series of residential projects from across the country by eminent architects such as Sandeep Khosla, Niels Schoenfelder, Sameep Padora, Sanjeev Panjabi and Sangeeta Merchant; as well as international designers like Fran Silvestre and WOW Architects; we share with you the importance of light, natural and intended in the residential space. The assemblage of case studies illustrate how light is woven into the creative language of the home, begins to envelope the design, characterizes the volume, embodies the emotional quotient, and creates an identity. The ‘House Lights’ have now been turned on. While daylight flirts with volume, intended light romanticizes the universe, resulting in an impassioned affair between light and space. A plethora of splendor is born of creative conundrums, as decorative lighting elements surpass their function to add a layer of ornamentation, but also reference the fervent expression of the space. We present a compendium of decorative lighting products that refuse to fit into boxes, get pigeon holed or coloured within the lines. Designers such as Michael Anastassiades, Lee Broom, David Weeks and Bec Brittain are vanguard artists, exploring creative ingenuity and carousing technological innovations. Experimenting with dynamic lights and kinetic effects, they draw parallels to personifying illumination. Frolicking in the midst of break-throughs, these practices are ‘Conduiting the Latest Trends.’ Your luminescent mondo world! Mrinalini Ghadiok



Editor, mondo*arc india Mrinalini Ghadiok mrinalini@stir.lighting

Dilip Shah

Editor, mondo*arc Paul James p.james@mondiale.co.uk

Manoj Mishra

Art Director Divya Chadha divya@stir.lighting


Kewal Singh kewal@stir.lighting


Manisha Singh manisha@stir.lighting


t: +91 11 2680 9377 / 78 / 79 e: mondoarc@stir.lighting w: www.mondoarc.com


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TEXTILE design Ana Llobet ARAM design Nendo www.gandiablasco.com info@visavisliving.com




A Balasubramaniam A Balasubramaniam (Bala) is a product designer, who founded the Gurgaon studio January Design. He belongs to a generation of early graduates of NID, Ahmedabad. He works with businesses and industries in the cusp of design and innovation, and believes in design thinking, applying it to his work across different domains like products and systems design for industry, crafts, and hand-made product design, packaging and communication design and social design. Bala has also been involved in design education and practice, and is in the advisory board of the School of Planning & Architecture’s Industrial Design programme. A regular contributor to the print and social media, he writes mainly on design. In this issue: Bala pays tribute to the much loved and missed, MP Ranjan.

Kathryn Dighton Kathryn Dighton is a Public Relations expert, with a career spanning more than 30 years. She has represented a series of design led premium brands including Liberty and Muji among others. Unraveling the ‘story’ behind a brand is a challenge she always embraces. No surprise then that her current client Anglepoise, with its quintessentially ‘British’ character and remarkable 80-year history is a constant source of inspiration. In this issue: Kathryn co-authors the story about the iconic Anglepoise lamp, and how after decades, it continues to be a timeless design.

Claus Østergaard Claus Østergaard has been the Marketing Manager in Louis Poulsen for more than two decades. Having worked with marketing and communications for nearly 40 years, Claus has experience in the Business to Business (BtoB) market as well as Business to Consumer (BtoC) market. In this issue: Marketing Manager turned writer, Claus illustrates how two Danish architects stumbled into designing lighting products, and today are considered some of the more prominent names in lighting product design.

Sanjeev Panjabi and Sangeeta Merchant Sanjeev Panjabi and Sangeeta Merchant (SPASM) make an eminent architectural practice that focuses on six key components: modus, user, site, purpose, experience and the act of construction. With the simple mantra that the greatest reward is to be untraceable as architects, their approach can best be described as chaotic upfront. In this issue: Sanjeev and Sangeeta introduce the residential case studies by instigating a deeper understanding of light in the built environment – as a phenomenon that celebrates architecture.

DEVYANI JAYAKAR Devyani has been Consulting Editor of Inside Outside magazine for six years and contributes regularly to several publications. An abiding fascination with the complex nuances of language, culminated in a Masters degree in English Literature and a post graduate diploma in Communications Media. Convinced that there is nothing more addictive than luxury, an unrepentantly indulgent taste for all the finer things in life leads her to write on a variety of lifestyle topics, including interiors, design, architecture and art. In this issue: Devyani explores the quality of light in a number of residential projects, such as the Beacon House, Brick Kiln House, K Lagoon and Fort House.

Oliver Marshall Oliver Marshall is an emerging writer on design, architecture and urbanism. An encyclopaedic guide to London and a peripatetic design observer, he balances his passion with commercial duties. Over the past 10 years, Oliver has worked for leading UK design brands including Anglepoise, Tom Dixon and Kangan Arora. In this issue: Oliver co-authors the story about the iconic Anglepoise lamp, and how after decades, it continues to be a timeless design.

Vishal K Dar Vishal K Dar, as an artist he uses satire and scale to address deeper personal issues, and his practice often extends outside the gallery and into the public realm. His art is diverse in terms of medium, where transformations and the nocturne are some of the more visible themes. Through mythmaking, he instills a sense of dreamlike quality in his pieces while still allowing them to address contemporary issues. Light is seen as a recurring motif in his work and has been powerfully harnessed in many of them. In this issue: Vishal assays Sir Peter Cook’s drawings being exhibited in New Delhi.

Bharath Ramamrutham Bharath Ramamrutham is one of India’s leading architectural, landscape, travel and hospitality photographers. Having a background in architecture and design and an abiding interest in the arts and crafts of India, his photography of design in the built, natural and human environment covers landscapes, architecture and interiors, people, places and heritage. His work has come to exemplify not only a purist approach to the medium, but also a definitive pictorial statement on Indian architecture, design and landscape. The prestige and popularity of his work has been enhanced by the extraordinary passion and perfection in his photography, his obsessive emphasis on light and space, and his insistence on absolute control of the image creating process.   In this issue: Through a series of scintillating images captured in his lens, Bharath walks us through the Falaknuma Palace as it is reopened after decades of relinquishment.

Waldmann Lighting Pvt. Ltd. sales-in@waldmann.com - www.waldmann.com




Pic: Parthiv Shah

Distinguished product designer A. Balasubramaniam recalls his time spent at the National Institute of Design with Professor MP Ranjan, best describing him as a design luminary.

Mp ranjan 9 November 1950 - 9 August 2015

Professor MP Ranjan, who passed away recently, was a design thinker who championed the cause of Design in India. He taught for nearly 40 years, and was a mentor and a friend to many of his students and faculty at the NID, Ahmedabad. Ranjan wore many hats. He was a design teacher, who excited his students in whatever subject he chose to teach: be it geometry or design thinking. He was a carpenter, who started his career learning basic carpentry in his father’s toy manufacturing business in Madras. He was an enthusiastic student of design, who quickly absorbed from working with the likes of Victor Papanek, Frei Otto, Buckminister Fuller and Charles Eames. He was a wordsmith, who worked alongside bamboo artisans, to document and co-write the first-ever book on Bamboo & Cane products of India. He was a voracious blogger, who wrote extensively on Design in India and became an authority on the history of Indian design. He was an activist, who would join the ranks of professional designers to appeal to the Planning Commission, to recognize the merits of a vision for design education. He was the ambassador who would showcase his students’ work in design seminars in India and abroad. He was also, above all, a generous friend and a doting father. Ranjan deserves mention here, as he championed the cause of publishing on design. As he rightly said, “Very little is known about the early days of design in India because very little has been written about it anywhere.” He would diligently document his students’ professional projects and blog about them or put them up on social media to provoke a discussion. In his own little way, he would egg on everyone to write on design. He would lament the fact that 68 years of design history in India is “flying under the radar” and is going un-noticed by the governments and the powers-that-be. And he often spoke about Design being more potent than being merely a form-giving activity. Design thinking is a concept that was close to his heart. Whether

it is the artisans’ village at Katlamaro in Tripura or Apple Design, he would cite examples that would showcase the effect of Design thinking in solving problems: both business and social. He advocated a course in design thinking to all professionals and also made such inroads into a few universities, post his retirement from NID. Ranjan also had this child-like enthusiasm to learn new stuff and technology offered him many such opportunities. He was the quintessential Apple fanboy and would be always ready to talk about his gadgets to anyone who listened. He would religiously shoot selfies with his iPad, with every new person he met and would also mail copies to them, immediately. That was, in effect, a quick documentation that helped him build a database of people and projects. He cared for documentation and that would eventually become his one-man crusade. There is a reason why the entire design community is feeling so lost and desolate after his passing. He was omnipresent. He was always available to discuss your latest assignment, share your blogpost or answer your queries. He was at once the alumni’s connect to the institute and the student’s connect to the outside world. He would take Indian design to world forums and bring world design to our discussion tables. He would read books and blogs and share his newfound wisdom or write articles and blogs and share his professional acumen. He was the line that connected all the dots of design players. Now, suddenly, he is no more. There is an increased level of angst. There is a palpable feeling of restlessness in taking his work forward. There is this urgent need to appreciate all that he stood for and the design community is more than determined to do that. Ranjan leaves behind a rich repertoire of work for all to enjoy and appreciate. More importantly, he leaves behind a thought leadership that he planted in his students that would keep his legacy alive for years to come.




eye opener As If It Were Already Here, Rose Kennedy Greenway Park Floating above Boston’s Rose Kennedy Greenway Park in the heart of the city is Janet Echelman’s As If It Were Already Here - a sculpture fabricated from over 100 miles of knotted twine, with an area of over 20,000 sqft, suspended between 50 and 200ft up in the air. Created specifically for this site, the brightly coloured piece is carefully suspended from three surrounding skyscrapers, with spans reaching up to 600ft in length. Working with Arup, the design intent was to provide a soft uniform wash of light on the piece that could vary in colour and intensity. Variability of coloured light creates a dramatic transformation of the piece, as bands of colour in the net are expressed uniquely as colour shifts. The soft wash of light allows visitors in the park below to clearly see the movement in the piece, as the motion of wind is clearly expressed in the lightweight materiality. When viewed from afar, the visual expression of the piece changes with every angle. The layering of the light on the surfaces of the net draws attention to the three dimensionality of the piece. Viewers from select angles see the brightly lit density of multiple stacked layers of light and twine, while from other views, the ethereal presence of a single illuminated layer of net is subtle and delicate against the night sky. Pic: Melissa Henry www.echelman.com www.arup.com



focal point Villa bougainville nice, france Inspired by a contemporary Bonbonnière, interior designer Arnaud Butin of Atelier Costes & Butin created a colourful atmosphere of abundance, filled with the luxuriance of exotic vegetation. The lobby, pictured here, features ceiling lights resembling pieces of fruit from Aqua Creations with Dippa, Suuria and Perlina pendants in Grass, and a monkey table lamp from Seletti. The breakfast room presents the vegetation in a more scientific spirit with classical lamps from Eleanor Home and Petites Fritures. In the bedrooms, guests are met with a spirit of accumulation in lamps of numerous materials such as metal pieces from Petites Fritures, wicker suspension lamps from Habitat and porcelain pendants from Il Fanale. Reflecting the growth of Nice at a time when the rich bourgeoisie had discovered holidays and travel, Villa Bougainville has a real taste for exoticism, appealing as a vibrant hotel to explore. www.ateliercosteetbutin.fr

Pic courtesy of Herve Fabre Photographies




[drawing board] The latest exciting works in progress from the world’s most imaginative designers.

deep into the sea Focus Lighting Focus Lighting is currently working with the Wildlife Conservation Society, a conservation organisation that manages five of New York City’s six zoos and aquariums, to design the lighting for New York Aquarium’s Ocean Wonders: Sharks!, a 57,000sqft, three-story building set to house hundreds of new animals come spring 2016. The exterior of the building will be wrapped in a shimmer wall designed by environmental artist Ned Kahn. The shimmer wall spans 1,000ft and uses wind and reflected sunlight to create a mesmerising effect reminiscent of waves in the ocean. Extensive mock-ups were carried

out to determine how to effectively light the 33,000 aluminum tiles that compose the piece. A 20ft x 20ft version of the wall was built on the Coney Island beach, where Focus Lighting’s design team lit the model from each side with multiple fixture types, before accomplishing an irridescent look, similar to that created by reflected sunlight. The solution was to integrate two rows of linear LED strips at the foot of the wall. Uplights behind the shimmer wall bounce off the swinging panels and directly into viewers’ eyes. A row of linear LEDs in front of the wall work to evenly distribute a constant layer of blue-toned light. 

Inside, the design of the exhibit takes the viewer on a dramatic journey through the undersea world as each space takes you deeper into the ocean. The culmination of the exhibit is the Canyon’s Edge tank with deep ocean sharks on display. A few shafts of ‘sunlight’ from 6,500K LED spots will illuminate a narrow strip of sandy beach along the front edge of the tank, then the exhibit falls off into darkness. The deeper recesses of the huge tank are flooded with deep blue LED light so sharks are just barely visible in the murky depths, and then suddenly come into the light as they approach the front of the tank. www.focuslighting.com


Pics: Matra Architects and Rurban Planners

BRANCHING INTO LIGHT Matra Architects and Rurban Planners Taking advantage of the luxury of time, Matra architect’s design for this residential project in New Delhi evolved from negotiating diverse forces, of nature and existing trees on site, of the science of Vaastu, and of a complex client brief. The resultant form of the building was an outcrop of these directions, transforming over time into an organic scheme. Four main branches stem from a central fulcrum, reaching out to respond to solar orientation and grand vantages into the landscape. The tenacious extremities

cantilever over courtyards, and culminate in large brise soleil that shade vast openings on the upper floor. The ever-changing shadows that cast an intense shade over the landscape, and darkened patterns that splatter across the walls above, create a dynamic play of light and dark through the day. While a maximum width of 7.5 metres ensures easy penetration of natural light, smaller appendages strategically grow out of the main branches creating moments lit in daylight, framing closer views and responding to internal spatial planning. Skylights are carved out of the building

envelope as cracks develop between the large branches, altering their direction of growth, and filtering the sunlight to enhance internal volumes. Crafting the ground floor with exposed concrete cast using wooden plank shuttering, the upper floor is rendered in 8mm shingles of local wood. The tactility of the building envelope is emphasized as it responds to the dynamics of daylight. As the building breathes, shadows change, and patterns evolve through the day, the structure will age and gain the wisdom of patina over the years. www.matra.co.in



[spotlight] The latest projects with the wow factor from around the world.

Pics: Kayzad R. Shroff

Terracing Grids Shroffleón A large urban apartment in Mumbai, overlooking the splendid Arabian Sea pined for an open moon deck that could serve as a multipurpose area for its residents. Carving out a 30 square meter terrace, the architects at Shroffleón created a semi open space that not only accommodates early morning yoga sessions and leisurely lunches, but also evening entertainment and larger parties. The client’s need for an ambivalent space that caters to the flexibility of usage was addressed by retaining neutral palettes, an open floor area and an interesting lighting scheme that makes use of spill light from the adjoining internal areas and compliments it to create uniform illumination across the deck. While the inner edge is lit with existing ambient light from inside, the outer

periphery demands higher light intensity. Catering to this gradation, the equation was inverted wherein the light fittings gradually increased from the inner edge towards the outer. A pattern of rectangular backlit tablets is embedded into the wooden decking, one set running along the length of the space, while the other runs transversal to it. The two opposing systems, while performing individually on their own separate electric circuits work in resistance to each other geometrically, but functionally fuse as one coherent whole. The 27 differently sized, 1/4th of an inch thick dimmable LED fixtures create a variegated envelope of diffused light across the surface of the terrace floor, allowing for the emergence of a discreet yet diverse patchwork of illumination. www.shroffleon.com


SCULPTING FACETS Sanjay Puri Architects Located in the heart of Jaipur, the building is designed by Sanjay Puri Architects as an office space for Shree Cement Ltd. Responding to the hot and arid climate of the desert region, the skin of the building is materialized as a series of faceted panels composed of an intricate screen pattern.

During the day the stylized screens act as a shading device, filtering sunlight into the office space. Sprinkling the interiors in a fascination of dappling light and shadow, the space is rendered in a soft hue of playful art forms. After dark, the tangled armor comes to life as the screened faรงade, lit from within outlines the sculptural form

of the architectural intent. A plethora of colour changing RGBW LED wall washers mounted at each level behind the jali bathes the structure in a surreal wash. DMX controlled fittings allow for a dynamic lighting sequence that can be directed for desired colour and effect. www.sanjaypuriarchitects.com




Architectural Art Arik Levy, Tabanlıoğlu Architects Istanbul-based Tabanlıoğlu Architects has been chosen to showcase its latest installation with world-famous artist and industrial designer Arik Levy at the inaugural Somerset House 10 Designers in the West Wing during London Design Festival 2015. An exciting time for Tabanlıoğlu Architects, as it opens its London office, its involvement in London Design Festival and partnership with Levy, brings together two like-minded spheres of talent to create Transition; Warm/Wet, a striking installation in a two-room space at Somerset House. Their collaboration involves the creation of a lowered ceiling of light by Levy made of LED strips – an extension of his eponymous ‘Fractal Projects’, a light sculpture that represents no beginning and no end’ – and simultaneously, a multi-faceted kinetic object placed underneath that has a

reflective surface, by Tabanlıoğlu Architects. One room will host a dense layer of light that is reflected in the floor, creating the ‘warm’ room. The other will be more sparsely lit with opaque qualities over a solid pool - an endlessly shifting metal platform that holds dispersing water drops - evoking a ‘wet’ cooler sensation for the individual. The joint work of Tabanlıoğlu Architects and Arik Levy will use diverse mediums of light and solid, dry and wet, warm and cold, in an interdisciplinary collaboration between architecture and art. Both parties’ prior works reveal keen understanding of transparency, light, opacity and transition between them. The installation is shown alongside Faye Toogood, Barber & Osgerby, Nendo, Luca Nichetto with Hem, PATTERNITY with Paperless Post, and Alex Rasmussen and Neal Feay, as part of the 10 Designers in the West Wing exhibition. Levy commented: “I was delighted to be

asked to work with the Tabanlıoğlu team on this prestigious project. Our disciplines merge perfectly and our installation will reflect themes that are consistent throughout both our bodies of work to create a striking collaboration that will be one not to miss.” Tabanlıoğlu Architects added: “We are thrilled to partner with such a talent for our first London Design Festival; Arik is a longstanding friend of Tabanlıoğlu Architects and we are excited at this opportunity to work closely with him at what is sure to be a thriving hub at the heart of this year’s festival.” Transition; Warm/Wet will be on display as part of the 10 Designers in the West Wing at Somerset House during London Design Festival: 10am - 6pm Mon-Weds and Sunday, 10am - 9pm Saturday. www.tabanlioglu.com www.ariklevy.fr


Disco Fever Alex Asseily, Haberdashery Design studio Haberdashery will display its DiscoDisco sculpture at the John Cullen Store on the Kings Road during London Design Festival. DiscoDisco is a sound reactive light sculpture initiated by creative entrepreneur Alex Asseily and Haberdashery. Inspired by the humble disco ball, the sculpture uses an array of custom made light pipes to channel programmable LED light to hundreds of large pixel surfaces. Animated content plays across these pixels in response to either a soundtrack via a line-in, or to audio collected via a parabolic microphone. The result is an organic wash of delicate white light across the surrounding walls, floor and ceiling, responding in real time to quiet sounds like a blown kiss all the way through to a prime ordeal scream. Each of the acrylic fins can be individually

orientated to allow a custom profile to the sculpture. Whilst currently arranged on a ring structure, the fins can also be arranged on different shaped spines to work along a corridor or vertically through an atrium space. This modular system can be scaled up, with an indefinite number of fins technically possible. The system is available as an off the shelf unit, or in custom configurations. DiscoDisco is an example of Haberdashery’s core interest of merging interesting aesthetic form with interactive technology woven together by a strong narrative. Haberdashery’s Vortex sculpture - in collaboration with photographer Julian Abrams - will also be on show at the John Cullen Store. Haberdashery will also take part in designjunction from 24-27 September. www.haberdasherylondon.com



[darc awards] Votes for the darc awards, organised by mondo*arc and its sister publication darc in collaboration with Light Collective, have now been counted and the winners will be announced at darc night in London on September 24th. Votes for the darc awards have now been counted and the winners have been identified! They will be announced at the awards ceremony, darc night, taking place at Testbed1 / Doodle Bar in Battersea, London on September 24 during London Design Festival. The only peer-topeer lighting design awards in the world attracted over 450 entries and over 5,000 votes, an amazing response to an inaugural competition and proof that designers are looking for something new and refreshing. Project shortlists consisted of the best twelve submissions from each category. Product categories went straight to the lighting designers’ public vote so that they could genuinely vote for their favourites. All independent lighting designers and light artists that voted in every category are able to attend darc night free of charge (suppliers will be subject to a charge) turning the traditional awards ceremony protocol on its head. The awards evening itself will be completely different with free street food and drinks all night, lighting installations by lighting designers and light artists who have teamed up with the manufacturer partners, and a completely different format for presenting the evening. Each architectural project category is split into low and high budgets (less or more than

£20,000 spent on luminaires), thus allowing the smaller projects a chance to compete and not just given a token ‘Special Projects’ award. Martin Lupton and Sharon Stammers of Light Collective are excited by the prospect of a pluralistic awards event: “Having been involved in many lighting awards programs over many years, this is a great opportunity to build on all of those experiences and try to create a different version of celebrating the best of lighting design where the judging is in the hands of everybody. Helping to shape darc night in collaboration with mondo*arc and darc has given us a chance to create an awards ceremony that is by the people, for the people – it’s the Oscars of lighting design!” All the projects and the companies who have submitted them will be present on the website so that, over time, www.darcawards.com will become a comprehensive online lighting design resource that can be used by designers and clients alike for inspiration. There are also product categories (two architectural and one decorative) that follow the same philosophy resulting in a comprehensive online database of products. darc night will be unlike any other awards ceremony to date.

Each commercial partner will be showing off the capabilities of their product via a series of light installations at darc night from collaborations with lighting designers. Manufacturer partners are Concord (who are teaming up with Speirs + Major); Cooledge (Light Bureau); Griven (Paul Nulty Lighting Design); Innermost (Elektra); KKDC (dpa); L&L Luce&Light (LDI); LSE Lighting (Troup Bywaters + Anders); Lucent (Michael Grubb Studio); Lumino (Electrolight); Megaman (Design In Progress); Reggiani (BDP); and Zumtobel (Arup). Technical partner is XL Video and Applelec is manufacturing the special trophies from a unique design from Kerem Asfuroglu, who’s Dark Source graphic novels were the inspiration behind the branding used for the awards. darc night is part of the International Year of Light and Light-based Technologies 2015 related activities program and will be promoted by the L-RO (Lighting-Related Organizations) to raise awareness for the lighting design profession and showcase the importance and beauty of light. It is supported by the Society of Light & Lighting and the International Association of Lighting Designers. www.darcawards.com

Three of the shortlisted projects in the decorative lighting installation category - Dancing Leaves at the Peninsula Hotel in Paris by Lasvit; Light Garden in Lima, Peru by Claudia Paz Lighting Studio and Nicholas Cheung Studio; and POV and Terrace Bar at the W Hotel, Washington DC by Reveal Design Group.



DARC AWARDS CATEGORIES 1 Best interior scheme - low / high budget 2 Best exterior scheme - low / high budget 3 Best landscape scheme - low / high budget 4 Best decorative lighting installation 5 Best light art installation 6 Best architectural lighting product interior / exterior 7 Best decorative lighting product 8 Best lighting concept



[snapshot] With more than 200 projects in 30 cities spanning 5 countries, Design Matrix has made its mark as a practice that welcomes experimentation with scale, typology and technology in their work. Ranging from hospitality to heritage, workspaces to entertainment; each project is a unique tale of lighting mastery over visual jugglery. Masterplanning for Lucknow Redevlopment

Pics: Harmeet Singh Issar

Lucknow As part of the Lucknow redevelopment plan, Design Matrix was solicited to design the lighting master-plan for certain areas of the city. Their scheme was a concerted effort to comply with government protocols, cultural practices and respect the city heritage. Located at the heart of the 100-acre campus of the Ambedkar Smarak, the Ambedkar Stupa is designed as a four-petal flower, the lighting for which is based on the panch-varna, the highest state of meditation in which matter begins to transform into pure light. The monumental structure is awoken from silence as RGB LED fittings illuminate the monolith in various tones of white. A meandering wall with softly changing light paints a colored band across the base of the structure. The rows of resplendently uplit columns leading to the stupa are complemented by a series of small bollards. Fashioned as traditional glowing lanterns, the streetlights use a color-coding feature, to divert, guide and manage traffic from a central control room.

Ibis Hotels Various locations Design Matrix has been responsible for illuminating 8 of the 10 properties of the Ibis chain of hotels. Featuring a fresh interior layout with bold pops of colour, the public areas are designed to cheerfully welcome natural light. Juxtaposed with artificial light, this adds a layer of contrast to accentuate the chromaticity, textures and patterns in the space. Emphasising interesting elements, light is used to highlight various textures of the wall and floor finishes, upholstery fabrics, furniture and artworks. Accent light gives a softly illuminated ambience. Coves in the ceiling allow for concealed linear fittings that cast a warm glow in the space. The al-fresco dining area straddles an indoor-outdoor setting. Tables placed under a cantilevered roof are lit in pools

Pics: Interglobe Hotels

of illumination by downlights recessed in the timber ceiling. Neighboring gazebos enclosed in timber slats are rendered in intimate volumes of warm light. The lighting scheme is prudently controlled through an automated system that allows for flexibility in illumination levels and offers a variety in setting lighting scenes in the dining and bar areas.


Looks Salon

Pics: Danish Afroz Siddiqui

Gurgaon Design Matrix has used lighting to facilitate a comfortable customer experience in the new series of Looks Salons.Three large disc-like structures mounted on the ceiling emanate brightness similar to that of daylight, creating a general ambient glow. Flower vases placed on the counter at each workstation encase a small halogen uplighter. These lighting tools compliment each other in creating adequate levels and keeping a balance of colour, intensity and direction. While the discs hover above the six coloring and styling stations that require brighter illumination for the artistes to work with precision, the therapy areas are kept in subdued mood light for a more relaxed ambience. Layers of indirect lighting allow for dispensing intimate scenes, while

overhead and frontal lighting serves the make-up artistes in the bridal room. As one walks out of the salon, the experience is a gradual one through a more brightly lit reception that accentuates merchandise to draw the customer’s attention.

Pics: Sunshine Group

Sunshine Towers Mumbai Design Matrix was initiated to light the Raja Aederi designed Sunshine Tower, the tallest steel structure in India. The task of providing electrical services to the external façades of the tower at a stage when it was nearly complete was daunting. However, the designers conceived a concept that communicates the architectural integrity of the structural form. Sixty-four LED grazers fabricated in custom RAL color to match the steel finish were installed on the building faces. Mounted 200mm from the bracing members at structural cross points, the 100-watt fixtures with precise narrow beam distribution are tactfully placed to emphasise the form of the building. Topped with an elaborate crown, illuminated with a series of 4000K white LED bulkheads mounted atop each radial, renders it in an enchanting brilliance. These dots are complemented with a softly changing colored light that washes the structure. As the night deepens and offices shut shop, the façade lights are also dimmed. However, the crown remains lit, symbolic of the bustling energy of Mumbai, the city that never sleeps.

Design Matrix • Partners: Sanjeev Nangia, Harmeet Singh Issar and Nivedita Sehrawat • Head Office: New Delhi • Nodal offices: Mumbai and Sydney • Established: 2005 • Employees: 15 • Current Projects: Grand Hyatt Hotel & Residences, Gurgaon; DIAL Hospitality District Lighting Masterplanning & Redevelopment, Delhi; Hotel Westin, Kolkata; Shree Cutch Satsang Swaminarayan Temple, Nairobi; Antara Senior Living, Dehradun; RNA Residence at Kemps Corner, Mumbai; Pioneer Lakeview Residence, Bengaluru; Hotel Lazizi Premiere, Nairobi; Hotel Taj Gateway at Theog & Bannerghata, City Palace, Jaipur www.designmatrix.in



[folio] Our regular feature highlighting the importance of lighting in the work of a design practice. This issue, we present The Busride Design Studio.

The Busride Design Studio is a Mumbai based, fun loving, explorative, curious and meticulous set of architects, interior, graphic, exhibition and industrial designers. They take great pride in looking for solutions from the macro to the micro, across disciplines, and ranging from the mildly eccentric to the totally insane. It is an independent studio specializing in the design and creation of built environments, ranging from hospitality and entertainment venues, to film and production environments; and from exhibitions and temporary installations, to institutional environments. www.jointhebusride.com


Smoke House Room, Shroom New Delhi The idea behind the space was always to break pre-conceptions, with the progressive cuisine, music and attitude to hospitality. A large part of the inspiration behind the design and lighting scheme was the forms, textures and effects of the mushroom, being something that was prominently featured on the menu as well. The lighting intent for Shroom was to create a distinct hallucinatory feel, subtle lights mixing over large white surfaces, highlighting textures through coves. Wanting the bare minimum of fixtures to be seen, The Busride went

through great lengths to customise each LED, such that only the effect and not the fixture was experienced. The intent was to create the closest possible experience to a psychedelic trip, that was anticipated to merge with the music and food to create a sensory barrage, and a subtle, lilting electronic sundowner of sorts. The club took this to a new level, with forms created using shadow lamps that were synced to 4BPM, in order to create a coherent experience with the Electronica music playing at the club.



The BOING Studio Mumbai The intent at Boing was to create a shadowless, origami and paper folding inspired space, taking a new look at a modern, and minimal yet folded surface. The design direction stemmed from the distinct folded shapes of the sound recording studios, chamfered faces making ideal acoustically relevant surfaces. The Busride extended the same language into the other spaces of the studios, creating a fun folded environment to make big use of a small space. They folded up wherever ceiling heights were available, and folded down wherever services needed to be covered. To maximise the effect of the undulating facets, 1W LED coins in clusters were used to create the combined effect of a 6W warm white spotlight, sprinkled almost casually along some of the contours. In other spaces they incorporated large running coves along the folds, to highlight the edgy contours. The intent was to supplement the strong daylight to create a productive work environment in the day, and a calming, shadow-free ambience for late nights.


The Church Street Social Mumbai The other extreme from Shroom, the Social experience is raw, grungy, rebellious and basic; rough around the edges and stripped down. It is the domain of naked tungsten lamps and tube lights, with filament bulbs accentuating raw brick and concrete surfaces to enhance the material textures. While Shroom was an exercise in creating sensuous plays of subtlety mixing lights, Social employs a harsh, naked use of sharply contrasting tungsten and halide lamps. At Social, the finishes were raw timber, exposed brick and concrete, and crate wood among other similarly rough textures. Using a simplistic lighting scheme, The Busride created a strong yellow bias, highlighting warm tones in the materials. The idea was to create a rustic, raw warehouse-like, shell experience, to serve as a fitting stage for the graffiti and mad food experiments inside.Â



[lighting talk] Although an acclaimed architect, Sameep Padora’s work is reflective of his humility and curiosity to explore, probe and redefine convention. Mrinalini Ghadiok urges him to elucidate on how great lighting is not about inundating spaces, but rather exercising restraint.

Pics: Edmund Sumner


Could you tell us… …what made you become an architect? The earliest memory I have of design was that of my grandfather, who traded in Kashmiri handicrafts. I remember him touching up objects made of painted papiermâché, carved walnut wood lamps etc.; and growing up around him being fascinated by these beautifully crafted pieces. I think this prompted in me an interest in the haptic, interactive notion of design, and eventually in architecture.

Neel / Tote

…how important is lighting in your designs? Lighting obviously is very important, but

I’m only just beginning to understand how the absence of light is as important as its presence; and this duality is what is most exhilarating. With lighting design we try to minimize the distance between the architectural construct and the fixture itself. For instance, in our project Neel / Tote at Andheri, we spent a very long time choosing light fixtures that could be integrated into the hollow stainless branches, almost suggestive of fireflies nestled in trees. In the Fort House, our structural idea of the three parallel walls and the column-free



central space emerged from a desire for particular light qualities. The three walls are separated by skylights creating a space that has an uplifting lightness; whilst the PT structural system allows for open, naturally lit, heavier and darker, multi level spaces of communal program. Similarly, we consciously selected a brown / beige vanilla stone for the external cladding that gives the walls its distinctive softness in the sharp Hyderabad sun, rendering them as a canvas for the animation of changing shadows.

[lighting talk]

…what excites you about light and lighting. Jun’ichirō Tanizaki’s book ‘In Praise of Shadows’ is greatly instructive in its elaboration of how shadows and the modulated absence of light create spatial cultures ranging from food to ceramics to clothing. It is this aspect of light / lighting and shadows / darkness, and their role within the specificity of cultures that is most engaging for me. There is a possibility of transformation by reacting to the nature of light that we deal with, within the climatic specifics of our context.

Fort House

…how you approach lighting a building through architecture, and about your working methodology. Our preference is to first articulate natural light; we are definitely partial to this device. We make models, observe them in light, carry out sun path studies, analyze how the light affects each part of the structure, and make mock ups to see the effect of light on material, it’s qualities, abilities to seduce, calm or inspire. Lighting for buildings is an extension to our understanding of the architectural experience, though I’m completely against drenching a building in artificial light, however beautiful it might be perceived to be. What manufactured light comes close to the experience of the Taj Mahal bathed in moonlight? What artificial light could do justice to the Marble Rocks at Bheda Ghat? …how natural light plays a pivotal role in some of your works, and how you consciously absolve physical boundaries and perimeters. Light affects material and the consecutive effect can be transformative. For instance, in our Lattice House, when you see the structure on the side exposed directly to the sun, the fabric and texture of the screen is bright red, light and cheerful, almost invigorating. When seen from the other side, the house appears dark brown, heavy and somber. This dual toning of an object through a singular device creates an object of different experiences.


Lattice House



Shiv Temple

Shiv Temple

…about some of your projects that straddle the outside and inside space. How do they respond to natural light, bringing light into the interiors and transforming after dark? The Lattice House has a screen that is operable. However, even when the screen is not opened, it creates a perceivable visual connection with the outside by toning down the incident harsh sunlight. It also creates intricate patterns of shadow and light within the interior, grading the space through light. On the other hand, the Fort House and Shiv Temple use skylights to lighten the volume of space and create a connection with the sky. The interior spaces of the Fort House are heavily staggered, and in doing so create cooler, darker spaces within. Through the patterned light of the Lattice House and the deep staggered open section of the Fort House, our attempt

Panchlingeshwar Temple


Indigo Ghatkopar

is a qualitative grading of interior spaces through the control of light. …how do you transform from daylight to artificial light in your spaces? Is it a natural process or a sudden one? To be honest, artificial lighting has always been a default setting. However, we are interested in switching from natural to artificial light slowly. We would ideally like to make an easy transition from sunlight to artificial lighting without jarring the senses. Our effort is always predicated on the experience of the space/s and the experience of form in a certain kind of light. Natural light always provides the basis of our design, though we do not try to emulate it though artificial sources. …about the importance of shadow and the balance of darkness and light in your work.

Shadows are far more interesting than light, especially in a tropical country like ours. Shadows dictate everything that evolves from a need for shelter. Shadows create entire streetscapes and cityscapes in the human endeavor for protection against the harsh sun. This can be seen in the classical city fabric of Rajasthan in India, or even across the deeply shadowed eaves of traditional Japanese construction. …whether you think there is an intrinsic need for dedicated lighting education / courses, institutes, conferences, or magazines There is definitely a need for conversation about lighting, but in more than just a technical sense. We require developing a soft approach that talks about the history of light and lighting, about its poetic abilities, about how it affects our lifestyle, and essentially

how not to overuse it. The most important lesson in my opinion that needs to be taught is how to exercise restrain. …about the best and the worst illuminated places you have visited. The experience of light in the interior of the Panchlingeshwar temple in Belgaum is sublime. At first the high basalt stone parapet walls of the verandah compress the light entering inwards, forming a horizontal band which blurs the detail outside; almost replicating the horizon. Then just outside the inner sanctum, a low, dark and cool space of beautiful columns is permeated by a divine light from above. Contrary to this, almost every space of consumption, such as malls / retail spaces etc. are badly designed. They exemplify the death of experience through excess. www.sp-arc.net



“My heart was always beating for light.� Architectural lighting practice Licht Kunst Licht is consistently linked to high-end international projects. Henrietta Lynch takes an in-depth look at Andreas Schulz, his experiences, how they have helped shape the practice and his fascination with light.




Top Novartis Campus landscape masterplan, Basel Right top ThyssenKrupp Quarter, Essen Right bottom Award-winning LWL Museum of Art and Culture, Munster.

Born in Bonn, but to parents from Berlin, Andreas Schulz is the dynamic leader of the multi-award winning German lighting design practice Licht Kunst Licht. He is also Professor for lighting design at HAWK (the Hochschule für Angewandte Wissenschaft und Kunst) in Hildesheim, Niedersachsen (Lower Saxony), north Germany. Schulz was always fascinated by light. “As a child I was drawn to its dynamic and special qualities and this fascination focused my career; initially more subconsciously, towards the lighting design profession.” With a technical mind-set, but stemming from a humble background, Schulz originally trained as an electrician in Cologne, but admits that his “heart was always beating for light.”

After his initial training and having worked for a couple of years on construction sites and with financial support from the German government, Schulz then qualified as an electrical engineer. This led to work with a small engineering company in Bonn that was responsible for the maintenance of several department stores there. This early experience was pivotal in Schulz’s career and developed his abilities as a lighting ‘trouble-shooter’. He found that he was drawn to finding solutions for the lighting installation problems in the department stores and would relish the early morning calls which invited his company to solve them. His specific interest in this field meant that he was well placed and had the opportunity to test his mettel

and develop a unique expertise for himself and his company through finding solutions to the problems. At the end of the 1980’s /early 1990’s Schulz moved to Berlin and into the embryonic lighting design profession that was beginning to evolve there, as in other parts of Europe and the US. This was an exciting time for Berlin and Germany since November 1989 saw the unexpected fall of the Berlin Wall or ‘Mauer’ and final political re-unification or ‘Wiedervereinigung’ of East and West Germany. Schulz’s early training in Bonn served him well in Berlin where drawing influences from the famous 1970’s lighting design company LichtDesign, he worked on one of his earliest lighting design projects; the


prestigious Kunst Museum in Bonn, designed by star Berlin architect Axel Schultes. Because, unlike some other early lighting designers, Schulz had not initially trained as an architect, he found he was able to communicate with many of his famous architect clients in an uninhibited and grounded way. Being unaware of some of the significance of their ‘star’ status, Schulz was happy to explain and resolve problems in a direct way and as such became the lead designer of many high profile and important projects, particularly those of a complex nature. During the early days in Berlin, Schulz shared an office space with architect Volker Staab until his experiences quickly steered his career path towards the development of

his own practice Licht Kunst Licht. This he founded simultaneously in Berlin and Bonn in 1991. Today, the two offices work together and employ a diverse spectrum of talented professionals including architects, interior designers, a stage designer and product designers with a combined total of 25 employees. “The offices work purely to find the lighting design solutions for new and refurbishment architectural projects using the palettes of artificial and natural light. They are also increasingly required to find and design mechanisms for the lighting design as part of the holistic environmental strategy for a building.” Currently the Licht Kunst Licht offices are

working on over 50 projects that range in size and type and are located across a number of different countries. Current projects include the refurbishment of the parliament building for German Lander state Baden Wurttemberg. This project is particularly sensitive and innovative since the design requirements are to introduce natural lighting into the main assembly space that, in its present state, does not include for daylight infiltration as a main light source. Licht Kunst Licht is therefore working closing with the architects and design team to create specially designed light shafts or ‘funnels’ that will be drilled into the soffit of the assembly zone and bring daylight into the space. With priorities for building and lighting



design to become increasingly more energy efficient and green, Licht Kunst Licht is also working on the design of landmark energy efficient buildings such as a new headquarters for Swiss Re in Zurich, which will be rated a LEED Platinum building. To date Licht Kunst Licht has worked on more than 600 design projects and received over 70 awards with many of these being international and very prestigious. Schulz considers that he has been very lucky to have had the opportunity to work on such a portfolio and attributes much of the success of Licht Kunst Licht to its office structure and ethos. This includes a flat hierarchy and working methods that he describes as interactive and responsive. This means that the design team are able to work chaotically and creatively but also in a structured way, thus allowing them to work well within the established frameworks of building design delivery structures. When considering the broader influences to his work and the designs of Licht Kunst Licht, Schulz cites the architects Louis Khan and Peter Zumthor who have inspired him

with their different understandings of and individual approaches to light. Otherwise Schulz considers his influences to be diverse and from across many different design fields. With an understanding that lighting design is neither a purely technical nor an artistic profession, Schulz also believes that the best lighting designers have a very strong empathy for art and the arts. From the very earliest days of Licht Kunst Licht, Schulz has collated details of all the projects that the offices have worked on and these are documented in a series of books. No favourite projects are highlighted since all are considered important for their own special qualities and there are certainly no ‘black-listed’ projects that do not get included. It is Schulz’s belief that the offices should be able to be open and transparent about their work and projects, thus enabling the delivery of quality. The last 24 years, since the formation of Licht Kunst Licht, have seen many cultural and technological changes in the evolution of the architectural lighting design profession. It has developed from something

little understood and only supported and occupied by a few passionate individuals into a globally established and respected profession with institutional support. Schulz and Licht Kunst Licht have understood these developments and their significance to enhance architectural design, but also how light is literally able to add an extra dimension to architecture, which is considered by the best clients to be of clear and obvious value. In other cases a clear understanding is communicated that for a relatively small budget, in comparison to that often spent on design finishes and fittings, a building and its architecture can be significantly enhanced with the implementation of good lighting design. “Despite recent developments in the architectural lighting design profession, the standards of and for its delivery across nations are still embryonic, variable and in flux.” While joking that he would not recommend the profession to others; so that Licht Kunst Licht does not have too much competition, Schulz currently works to support its development by inspiring Top The award-winning Wilhelm-Leuschner Platz in Leipzig. The inspired lighting concept was implemented using luminaires from Norka. Bottom left Coal Washing Plant, Zollverein Colliery, Essen Bottom centre Darwineum Zoological Garden, Rostock. Top right The Licht Kunst Licht team. Bottom right The Federal State Parliament, Vaduz, Leichtenstein Right Museum of the Bavarian Kings Hohenschwangau.


Highlights Projects that you’d like to change: Any hotel room with only on /off controls and a bathroom light level that wakes me up when I am dead-tired and longing for sleep. Projects you admire: Mr Malotki’s early ‘80s projects... Changing the way Europeans look at light in architecture. Projects you dislike: City lights that emphasise parts of a city that should not be emphasised. Lighting Hero: All the architects who gave us the opportunity to rediscover the use of daylight in architecture. Notable projects: Colliery Zollverein Essen, Federal Chancellery Berlin, Uniqa Tower Vienna, Städel Art Museum Frankfurt, Thyssen Krupp Headquarter Essen, LWL Museum of Art and Culture Münster, National Museum Qatar, Museum of Art Ahrenshoop, Novartis Campus Basel.

students with his teaching work as a professor at HAWK. “Technological developments over the last two decades have strongly impacted the lighting design profession. The design language has moved on from one incorporating the hundred year old technology of GLS lamps developed by Swan and Edison as a main source, to one that employs LED lamps and associated systems.” Andreas considers these new technologies to offer special opportunities and challenges when designing the lit environment, especially in consideration to the potential for lighting control and the development of smart buildings. He considers the complex nature of these new systems to offer lighting designers the potential for a larger design remit and take them into some of the territories that have previously been occupied by others such as electrical engineers. Likewise with the development of building design cultures, which have now in some cases displaced the more conventional hierarchies with the architects leading a project, Schulz sees the

opportunity for the lighting designer to take more of a leading role. Working as an architectural lighting designer combined with his teaching role and the development of his offices has given Schulz and Licht Kunst Licht the unique opportunity to work with many interesting and diverse clients; but also within different cultural contexts including between the two very different German cities of Berlin and Bonn. He has been able to see the great potential this developing profession has to bridge across different technological and disciplinary boundaries ranging from pure architecture, industrial and stage design to engineering and the automotive industry, and derived inspiration from all of these. In summary, Schulz’s early technical and practical training and his willingness to find solutions to problems, combined with a talent to see opportunity, to learn and to communicate, has led him to the very top of his profession and, as he describes himself, to become a very happy man. www.lichtkunstlicht.com

Most memorable projects: The ones helping us to form our corporate spirit. The National Gallery in Berlin with HG Merz Architects developed our sensitivity to heritage buildings. Likewise, the Crematory Baumschulenweg Berlin with Axel Schultes Architects widened our awareness of emotional and human factors in architecture. Our recent museum projects have taught us about the vitality of dynamic daylit spaces. The Uniqa Tower project has educated us that even a media facade can become a sustainable piece of art. Current projects: Seef Lusail Waterfront Doha in Qatar with Gustafson Porter; Bürgenstock Resort Obbürgen in Switzerland with Dierks und Sachs; several Federal State Parliaments: Lower Saxony, Mecklenburg-Western Pomerania and Baden-Württemberg; Frankfurt Airport Terminal 3 with Mäckler Architekten; Swiss Re in Zurich with Diener& Diener Architekten; One ShenZhen Bay in China with KPF Architects; Children’s Hospital in Zurich with Herzog & De Meuron; Orbital Highway in Qatar with OMA; Sprengel Museum Hannover with Meili Peter Architects; Novartis Campus Shanghai China with Diener&Diener Architects and Atelier FCJZ; Richard Wagner Museum in Bayreuth with Staab Architects; Shamina Expansion in Mecca with SL Rasch; French Pavillion at the Milan Expo in Italy with Studio X-TU in collaboration with StudioALN AtelienArchitecture and Studio Adeline Rispal; Water Tower in Luxemburg with Jim Clemes; Experimenta Museum in Heilbronn with Sauerbruch Hutton Architects.




CONDUITING Trends Light is no more a mere facilitator of vision, and lighting is not the meager act of providing illumination. Today, light, lighting and the lighting product have become tools of enhanced perception, tools of heightened elucidation, but most importantly, tools of psychographic intuition. mondo*arc india shortlists eleven trendsetting studios that create lighting products as integrated elements of the creative environment. They are pushing the boundaries, colouring outside the lines and developing a design language that caters to the future, but is relevant to the present. Drawing inspiration from type and typology, nature and natural, scale and scalability; these designers offer experiences that are sometimes subtle or exaggerated, intimate or communal, detailed or ambient. These products are exemplars of a progressive vocabulary that redefines light as a personal experience through dynamic, technologic, kinetic or even metamorphic intents.

Image: Cordoba, Kinetura


CONDUiTING TRENDS / Michael Anastassiades

PERFECT EQUILIBRIUM Michael Anastassiades trained as a civil engineer at London’s Imperial College of Science Technology and Medicine, but before he could complete his degree, he found himself frustrated and craving to do something more creative. He thus ventured into the field of design by pursuing a masters degree in industrial design at the Royal College of Art. Michael launched his studio in 1994 to explore contemporary notions of culture and aesthetics through a combination of product, furniture and environmental design. Thwarted by the pressures of breaking the circle of manufacturers, convincing investors to finance the process, and maintaining a consistent input / output ratio, Michael decided it was best for him to establish an independent unit. In 2006 he was designing and producing a vast range of products, but realised a strong need to specialize. His passion for light led him to concentrate efforts in designing lighting products, and in 2007 he launched his first collection under his banner, Michael Anastassiades. Tapping his engineering-imbibed practical

approach and nurturing the creativity honed in art school, Michael defined his design philosophy as, “A timeless quality in design, what makes objects survive long periods of time.” What sets Michael’s work apart is the simplicity of the design language, a conscious exercise to distill the process and remove excess information. He starts with a complex scenario and goes through multiple iterations to refine it till he reaches the desired result. While some objects evolve effortlessly, others require a more rigorous approach.

Mobile Chandelier His 2015 collection challenges the perfection of the sphere through the interference of foreign geometries, while maintaining a level of discipline in various balanced compositions. The new Mobile Chandeliers are a natural evolution of the series, first designed in 2008 (Mobile Chandelier 1) with an introduction of curves to the existing linear language. The collection is exemplary of Michael’s attempt at making an object desirable through perfecting

proportions. The products appear to be two-dimensional drawings that mysteriously reveal their occupation of space when viewed from varied angles. He describes them as, “Delicate structures in perfect equilibrium.” They stand as derivatives of an exploration between light and movement, where the designer reflects the changing light of the sun through the day, “Nobody can replicate light in the way that it exists in nature. I would be happy if I was to capture a small part of that complexity when designing a fixture.” Currently working with halogen capsules, the studio is gradually moving towards newer LED technology, which has led them to imagine light in different ways. Using free blown glasswork, hand carved stonework and bespoke metal finishes, each piece is stamped with the designers mark. Positioned between fine art and design, Michael Anastassiades’ work aims to provoke dialogue, participation and interaction. He creates objects that are minimal, utilitarian and almost mundane, yet full of vitality one might not expect. www.michaelanastassiades.com



CONDUiTING TRENDS / Paul Cocksedge

DELICATELY POISED Having established their studio over 10 years ago, Paul Cocksedge and Joana Pinho have garnered a reputation for meticulously original and innovative design, reinforced by in-depth research in technology, materials and manufacturing processes. Importunately pushing their limits and those of technology, they found much acclaim in a range of unyielding steel tables, ironically inspired by delicate sheets of paper. Poised, is the paper table made of steel that weighs half a ton. Created following an intensive series of calculations regarding gravity, mass, and equilibrium, the steel leaf curves up and around to form a horizontal surface, which looks as precarious, as it is in actuality stable. Poised is an example of supreme clarity of thought, experimentation with form, and an undeterred understanding of material, something that is evident in all their works.

Bourrasque The Bourrasque is an exemplar of similar tactility and skill, combining Paul’s interest in nature and morphology of paper, with design and light. “A ream of paper scatters in a gust of wind, soaring high into the black winter night; every sheet glowing bright, against a backdrop of the most exquisite 17th century


architecture.” Instated in the grand courtyard of Hotel de Ville, the installation was a part of the Lyon Festival of Light in 2011. An ambitious project, ‘Bourrasque’ measured 25 metres in length and reached over 15 metres at its highest point. The 200 A3sized sheets were made from thin, flexible sheets of electroluminescent (EL) material, individually moulded by hand in London, and then assembled on site, in a manner barely visible to the naked eye. Paul Cocksedge explains, “I’ve been fascinated for a long time by the various properties of light: how it emanates, how it diffuses, bends, reflects, and scatters. With these EL sheets I’ve been able to explore much further the idea of light as a flat object, as something touchable and malleable - not housed in a glass bulb or a neon strip, but an object you can bend and twist - and almost see it come alive in your hands.” Symbolic of documents that may have escaped surrounding offices, or even the future of the paper medium being transformed into digital media such as tablets; Bourrasque ignites a curiosity in the designer as well as viewer about light and technology vis-à-vis an act as simple as a sheet of paper floating through the air.

Auditorium Commissioned to create a distinct auditorium area for the 100% Design Show during the London Design Festival in 2012, Paul’s concept challenged the idea of a space confined with the conventional series of walls. Using a near-invisible thread, he weaved a series of partitions in a complex web, diminishing the idea of a solid wall, but establishing a transparent partition. Reiterating the confined space with these ‘open’ planes, Paul plays with our notion of exterior and interior space, questioning where they begin and where they end. He says, “The Auditorium has given me a chance to work with things that on the surface seem mutually exclusive: open/ shut, inside/outside, solid/transparent. The partition marks the Auditorium’s border, but what defines that border is that you can see and hear and even reach through it.” Paul Cocksedge’s works include a multitude of design products, architectural projects and sculptures, all infused with the sense of simplicity, joy and wonder that has come to characterize their studio. www.paulcocksedgestudio.com





CONDUiTING TRENDS / Brand van Egmond

FROM AFRICA TO THE OSCARS Brand van Egmond derives its name from the designer duo of William Brand and Annet van Egmond. For over a quarter of a century they have designed and produced lighting sculptures, with a clientele as eclectic as demanding, from royals to rappers. As sculptors, they wanted to distance themselves from ‘laying the golden egg, and ensuring that something was constantly coming out of the egg.’ Thus, they ventured into fabricating their own products so that they could have complete control over what was produced. They stay away from other designers, for the fear of needless influence. When asked about the latest trends, they haven’t a clue. Wiliam says, “We prefer making paintings rather than taking photographs,” read as, working with our hands and infusing emotion through the pencil, as opposed to assembling thoughts on the computer. For Brand van Egmond, their work is a means to tell a story, to communicate. Persistently deriving inspiration from their surrounding, they have created striking installations, which are more pieces of art, than mere luminaires. Enthused by a series of trips to the African continent, William sketched designs for a new lighting product that reflected the trees there. He wanted to capture the character and emotion of the topiary, in its dawdling growth and arid environment. He soon moved from the drawing board to the workshop, where working nights he stared intensely at his prototypes for hours on end.

This is common practice for all his products. After intense crafting and accomplishing a satisfying outcome, he trains other members of his team to carry forth the production. Invited to decorate and light up the Greenroom of the famous Oscars, William aptly name his new creation Hollywood. It was meticulously crafted in metal and admirably adorned the prestigious backstage area. More recently, a Swiss client showed much interest in the installation, which was then customized for him. Termed Hollywood Icicles, this iteration was rendered with slender icicle-like drops in glass, as a response to the client’s residence being located in the Swiss mountains, symbolic of reflections, sparkles, light and shadows.

HOLLYWOOD Using steel as the base material, it is bent, welded and then ‘dipped’ in a nickel bath to give it a rich, burnished finish. It is then coated with a thin protective layer of lacquer. The icicles are drawn and blown by hand; available in clear, white or black glass. Although the technique used is labour intensive, there is an exceptional level of craftsmanship involved. This also allows for Brand van Egmond to customize their pieces easily and keep a close control over production. Working independent of external influences, and handcrafting exquisitely unique lighting products is the work of Brand van Egmond. www.brandvanegmond.com




MORPHING TIMELAPSE Barbara Van Biervliet and Xaveer Claerhout, founders of Kinetura bring on board the next dimension in lighting; kinetic products. Light modulation coupled with physical transformation gives rise to a silent, flexible metamorphosis of the product, similar what one may witness in nature. Light can be seen with a new dynamic and organic dimension, referred by Kinetura as LIFE (of light). Metamorphic Design stands for transformative and responsive design. Reflecting on the architecture and objects that physically adapt to their given environment, addressing a particular moment or need. Kinetura’s innovation in this sphere accommodates straight, rigid lines to be bent in a flexible manner to achieve other shapes and functionality in light. The objects are responsive and communicate with you. Flexibility is key, both in a physical as well as in a functional way. Taking a leap towards new technologies such as LED and OLED, Van Biervliet and Claerhout explain, “A mere static approach in design of lighting fixtures and architecture is no longer able to maximize the possibilities that smart

New York

lighting control systems and digital light sources offer. Lighting needs to become part of the connected environment, thanks to the evolution towards the Internet of Things.” They refer to more than just the smart interconnection of devices. Metamorphic Design is an important next step towards the incarnation of the digital world, where the virtual and the physical reality finally meet, and digital data merges with flexible beauty.

NEW YORK Standing staid, the New York lamp is exemplary of modulating light that is amplified by a poetic transformation. It transmogrifies from a rigid, closed and almost absent lighting fixture, to a flower like sculptural form opening up to the sun, in a deliberate organic way to offer generous light. Responsive to touch, the assimilated technology surpasses all expectations. An interactive mode allows an invisibly integrated eye, which senses the presence of a person, and the lamp opens up to them. The New York lamp also has a ‘breathing’ mode, with continuous cycles of slowly opening and closing. In this way it adds an

easeful, organic and dynamic dimension to the space.

TOKYO Cordoba and Tokyo are architectural lighting fixtures, wherein the surfaces of the fittings slowly and silently bend inwards to the wall to reveal the light. Cordoba, with its arch shape, welcomes you when it opens slowly. Tokyo brings light as a rising sun, slowly caressing the round shape. These light objects can be installed recessed in the wall, mounted on the wall, or even as a pendant. Bringing light modulation and physical transformation together, this collection adds a new, dynamic dimension to space. “A continuous, gentle metamorphosis of light and shape is perceived as truly natural. Static light on the contrary is not. Think of the sun that offers us an ever-changing pattern of light and shadow during the day, essential for our well-being. Transformation and change are the essence of nature,” is the mantra that Kinetura works on. www.kinetura.com



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CONTEXTUAL SPOKES Founded in Beirut, Lebanon in 2004 by Dimitri Saddi, .PSLAB is a design and build studio that creates context-specific design to facilitate the production of sensory experiences. With offices in Stuttgart, Helsinki, Bologna and Singapore, .PSLAB has carved a niche in the lighting product industry with custom-made technical and sculptural lighting objects developed in collaboration with renowned architects and designers. Working from conception to manufacturing, the team at .PSLAB pays close attention to details, anything from spaces, photography, videography, branding, and communication tools to packaging is designed in-house by them. They are not afraid of trials and errors, which is what has evolved their design philosophy over the years.

LION FISH Driven by a creative dialog and an understanding of the site, the design process commences with a brainstorming session with the client and the architect, from which a lighting layout is developed,

followed by initial sketches of the product. The Jane, an exquisite restaurant in Antwerp, Belgium became the playground for .PSLAB to experiment with in 2011. The former chapel for a military hospital was refurbished by Piet Boon architects, who insisted on retaining the artisanal feel of the existing historic chapel, and propelling it forward with a contemporary underground atmosphere. It was the ideal canvas for .PSLAB to create an outstanding chandelier, Lion Fish. Convinced that the space needed an enormous and spectacular piece, the design process started with sketches, which were then translated to product designers for further development. Multiple prototypes were created to test for weight, stability, details and structural integrity. Once approved, the piece was put into precise production. Painstakingly hand crafted, the massive 12m x 9m chandelier over the dining area weighs 800 kilograms and is suspended from a single point in the ceiling. Dipping down to 2.75m above the ground, and then bowing back up to fill the vaulted space above, the

central structure is attached with tubular tentacles that each end with a glass bulb, filling the space with more than 150 bulbs. Using the latest technology for manufacturing the product, the design is grounded in a modest form. The sheer magnitude of the chandelier creates an awe-inspiring ambiance, yet its simplicity renders it humble enough to be relatable. “To be in the market, we must be quick to learn and adapt to technology. However, the more technology we have, the less human sense we get. I always believe that a good design should not ignore people. Therefore our challenge is how can we find balance? How can we physically interact with that technology? Technical innovation and new technologies are creating opportunities and new possibilities. The designer’s job is to implement these new technologies into objects to offer a better or a new service to the user. Even if they are different fields, technology and design are much more powerful together.” www.pslab.net




LuNAR INTERSECTIONS Lee Broom prides himself in creating unique and thought provoking products or interiors. With a background in fashion, he stumbled into the world of interiors by taking on small jobs to earn extra cash. Discovering his passion for bespoke furniture and lighting pieces, he soon moved into product design and found his namesake company in 2007, followed by his flagship store in 2013. “I think my philosophy in general has always been the same, it’s my confidence in that philosophy that has grown,” says Lee of his design ideologies. Lee finds creative freedom in designing products for his own brand, and at the same time enjoys the challenge of catering to a client’s brief. “Creating something with a brief is interesting, as it throws my mind into an unfamiliar territory and the results can be quite surprising. In some respects creating your own brief for your own brand can be more challenging when working with a totally blank canvas.” The Lee Broom studio functions as a team, working hard and fast to create individual products. They define lighting as the jewelry in a space, without which one cannot conceive an interior volume. This inherent gravity towards light is what gives birth to the large collection of lighting products in their range.

CRESCENT LIGHT Taking reference from the classic Art Deco globe light and giving it a modern twist, Lee simply slices the sphere in half. The asymmetric cut thus reveals a brushed brass fascia sitting within the acrylic dome. Evolving the design through a series of 3d models in polystyrene, they derive the final shape and scale. The process involves a number of elements that are machine manufactured as well as those that are hand finished. Blow moulding for the domes, CNC machines for the metal work, and Lacquering the brass-work by hand,
they make at least 15 prototypes before the final samples. Once approved, the Crescent Light goes into production as a stock product for the studio. As an ardent supporter of British manufacturing techniques, Broom designs, manufactures and retails his own collections, in addition to collaborating with leading brands including Christian Louboutin, Mulberry and Matthew Williamson. His products are sold in over 100 stores in 40 countries, and he intends to expand further. On asking about India, he says, “I have not been to India yet but it is high on my travel list. Working there at some point would be amazing.” www.leebroom.com



CONDUiTING TRENDS / Yellow Goat Design

KNOT TO SCALE Having worked in construction in Sydney, established a life as an artist in Hong Kong, and then returned to Australia to open his own studio, Jerzy Lesko founded Yellow Goat Design. On setting up the studio, Lesko required a table light. So, he constructed one. The light gained so much popularity, that Lesko began to design and build lights for client’s residences, and never looked back. His only mantra for Yellow Goat is, “Whatever we design / build, must be unique and beautiful!” Following this, the studio has grown from a single designer to a team of eight, all of whom are young thinkers and innovators with great ideas. Employing young design school graduates, Yellow Goat has them work on the factory floor before choosing them for the design office. Lesko explains, “Young would-be designers are almost always full of selfimportance, so it becomes important to teach them the realities of the business. Anyone can draw an attractive shape

but to be a designer you must be able to show how it could be made beautifully and economically; when you can do that you are on the way to becoming a true designer. We encourage creativity and discourage ego.” Directing their journey from residential to architectural lighting, Yellow Goat thrives on pushing the boundaries and delivering products that are extraordinary experiences. Clear in their ideologies, Lesko is known to reject commissions that he feels are not in good taste, and when the client pays for his piece, the ownership of the design shifts to him, never to be repeated again.

THE KNOT Inspired by the knots in the thick rope of an anchored ship, Yellow Goat Design conceptualised a modest suspended lighting product, sized at 600mm diameter, and released a rendition of the design on their website. Garnering much attention,

they were inundated with demands for the production of the piece at larger scales, some up to 2000mm. Although the engineering of such a piece was challenging with respect to the sheer weight that it would carry, Yellow Goat improvised on the design. Re-engineering the structure with a 40mm thick skin of flexible metal tubes, the Knot was fabricated as an enormous metal rope with hundreds of LED Bi-pins on the unraveled end. With a substantial weight still at 1.6 tons, the Knot was rendered more practical and has since been installed in several hotel lobbies across the world. Yellow Goat has taken on the journey of LED lighting technology due to much client demand, however still struggles with a suitable LED light source for their works. They aspire to, “Improve on what we do well, make more use of the emerging technologies, expand into new markets and create products beyond lighting such as kids play and furniture.” www.yellowgoatdesign.com




LAMBENT GROUPINGS An art graduate from the Rhode Island School of Design, David Weeks experimented with all kinds of odd jobs before landing full time work at jewelry designer Ted Muehling’s store. The perfect mix of sculptor, craftsman, and designer, Ted was the ideal mentor and the primary reason for David to switch from art to design. While working with him, David started doing his own metal fabrication on the side for friends. Gathering tools and materials during that period, he built up a small shop where he made tables, bookshelves, curtain rods, whatever people wanted. Meanwhile, he was experimenting with lamps as sculptures that would hold light bulbs. Crafting a series of ten desk lamps, David’s work was quickly picked up by a design showroom in Manhattan, and that’s what really got the ball rolling. With his namesake studio established in 1996, David defines his work as, “Industrial in inspiration yet refined in execution, a byproduct of both mechanization and handcraftsmanship. Virtually everything we create is infused with a bit of sly humor, yet forms are grounded in serious design.” Their fundamental design philosophy centers on formal reduction and downand-dirty fabrication. Over the years, their products have become larger and installations more elaborate, and the

initial planning phases incorporate a great deal more computer-aided drawing, 3D modeling, etc. However, David still approaches the design process as a thinker, teasing out ideas with a hands-on approach: carving foam, bending wire and working directly with materials. The studio has collaborated with numerous companies such as Flavor Paper, Christopher Farr and many more to seek out and explore the integration of new materials or new directions with existing products. On the other hand, they have also worked with Design Within Reach, Kikkerland and Areaware to produce and distribute products conceived in their studio.  

KOPRA The fixtures in the studio’s Kopra line group varying sizes of Boi shades together to create balanced forms. Mounted on powder coated steel arms extending from a central column, each shade rotates 320 degrees to direct light independently. The Kopra was the first line created, at least in the initial prototyping process, by just using physical models. There were no defined metrics involved. Instead it was an organic investigation, experimenting with wood forms and dowels of varying sizes to creating a structure that felt both balanced and unexpected. The core structure of

the Kopra line reveals an intricate sense of geometry and an impressive sense of balance – embracing the challenge of getting different-sized heads to work in conjunction and in a visually pleasing way. The shades are made of powder-coated steel, but maintain a sense of graceful lightness. Taking inspiration from the Kopra Cluster and Kopra Burst suspension fixtures, the studio later introduced the Kopra Standing Lamp and the Kopra Table Lamp to expand the line. Both lamps rest on three legs, bringing the hanging fixtures down to eye or table level for a more intimate type of interaction.  Currently working on a new line of LED lighting, to be released in 2016, David Weeks Studio is excited about the challenge of integrating new technologies in lighting, in terms of how forms must consider and respond to heat and space as well as material. David would also very much like to explore the Indian palette of local dyes and fabrics to make sunshades for outdoor settings or diffusers for interior lighting. Drawing from the painted elephants in Rajasthan, David imagines a series of wooden elephant toys brushed with the same patterns, or perhaps creating LED harnesses for the actual elephants. www.davidweeksstudio.com




KINETIC BLOOM Founded in 2007, Lasvit is a manufacturer of unique works of glass, including bespoke lighting installations, artworks, as well as collections. Combining the authenticity of Bohemian glass with innovative technologies and creative craftsmanship, Lasvit has established itself as the authority on products made from hand-blown glass. Collaborating with renowned designers and artists such as Nendo, Ross Lovegrove, Daniel Libeskind, Maarten Baas, Czech legends René Roubíček and Bořek Šípek to create objects that are relevant in a contemporary context, the brand expresses its progressiveness by intersecting technology with traditional manufacturing methods, and introducing programmable lighting systems and lighting kinetic sculptures. Petra Krausová is a Lasvit designer who derives inspiration from materials as well as technology. Her tryst with design and glass began in her formative years in an art class, where her focus was on sculpture and handblown glass craftsmanship. Having pursued her education in industrial design, Petra veered towards glass making techniques, defining her fundamental design philosophy as experimental but cherishing tradition. During her training years, she explored futuristic concepts, seeking freedom in visualising the imminent. Enamored by space and astrophysics, she worked in

a boundless sphere. However, she soon realised the need to ground herself and started to pay more attention to product design; yet managed to keep her head in the clouds. With training in art and industrial design, she was able to maintain the balance between the functionality and aesthetics in her projects. Persistently pushing the boundaries, trialing technology, and delicately juxtaposing it with hand blown glass, Petra conceived the splendid luminaire called Alice.

ALICE With deep references to the organic and unpredictable characteristics of nature, wherein each leaf and each tree is unique, Petra translated the inimitable optical properties of glass to the sculpture. It evokes an experience underpinned by its name, a sense of Alice in Wonderland. Designed as a kinetic bloom, its traces to flowers that serve as symbols of peace and love, values that are as fragile as the flowers themselves and an undeniable property of glass. “The initial idea was to create something what would feel like it is out of this world. First I conducted a huge research on natural movements. I was hypnotized by the timelapse videos of flowers opening and closing. This is the movement, which we would

never see just by our own eyes in a realtime. So I wanted to translate it into the language of glass,” says Petra. With a desire to create a complete experience within one product, she had to address the sculpture keeping in mind not only the lighting, but also the movement and its speed. Everything needed to be synchronized, for which a mobile phone application was also developed. Divided into 12 different circuits that are controlled by 19 different 3-phase servomotors to allow for different speeds and compositions, Alice is fitted with RGBW downlights. The luminaire also has the allowance to customize the location of the engines and electrical box. The biggest challenge faced was to secure a fluent movement of all the components. Catering to large spans of time, the team had to ensure that the weighty elements functioned effortlessly. Crowned by a hand crafted, mirror finished, stainless steel structure, the luminaire has been developed in several different compositions. Each configuration has its own speed as well as matching dimmable lighting. ‘To transform glass into breathtaking light and design experiences’ is the manifesto of Lasvit’s uncompromising mission. www.lasvit.com




GEOMETRIES IN SPACE Born into a family of architects, painters and furniture makers, a career path in design was something of a natural progression for Brooklyn-based lighting designer Bec Brittain. Having grown up in Washington DC, “as part of a rare non-government associated family,” Brittain continued the family tradition of design by studying at Parsons and NYU, where she received a degree in philosophy before heading to London, gaining a degree in architecture from the Architectural Association. “It was quite early that I became a maker,” says Brittain, “It felt so natural and it was through work experience that I was inspired and had the confidence to try it on my own.” With a career firmly focused on design, Brittain sights her parents as some of her greatest influences when it comes to creating and making. “My father is an excellent woodworker,” she says, “and definitely instilled in me to be very detail orientated; my mother, a painter, helped cultivate a more intuitive side. I always find it so difficult to explain my inspiration, trying to track down where exactly an idea came from is nearly impossible! I have however, really been interested in late ‘60s / early ‘70s Fontana Arte recently!” Having tried her hand at various aspects of design - from architecture to furniture and hardware - it was Brittain’s work with Manhattan-based lighting designer Lindsey Adelman that “truly crystalized what had previously been a wandering path.” For Brittain, it is very much about the unique place lighting resides in that she enjoys, “It is functional yet sculptural. I love working within the boundaries of

having to make the piece illuminate and work well in a space, yet also feel very formally free – the ergonomics of lighting are very different than those of a chair for instance.” Commenting on her career highlights, Brittain continues: “It’s funny, having my own studio has really been an exercise in moving goal posts – there is always something new to accomplish. Growth always feels very significant to me, whether it’s getting a bigger studio or hiring someone new, it’s a satisfying moment of seeing work pay off.” Having launched a number of new lines, as part of her own collection, Brittain has also been involved with designs for lighting supplier Roll & Hill, also based in New York. Having known Roll & Hill’s Jason Miller from her early days of working at Lindsey Adelman’s studio, Brittain had always been impressed by how he approached design, engineering and manufacturing work and so when the opportunity to work with him came about, it was of course an exciting moment. “His team shares so many of the philosophies about how to make things, yet has more manpower and experience to devote to projects,” says Brittain. Looking ahead, as well as promoting her latest designs, Brittain is set to take part in Design Miami later this year, showcasing a piece in collaboration with the Patrick Parrish Gallery.

ZELDA Brittain’s collection of Zelda is a fascinating play of geometries in space. The elegant luminaires juxtapose the powerful

materiality of brass-encased LED tubing with gracefully suspended planar forms. Produced as a collection in multiple shapes, sizes and configurations, the lights seamlessly adapt to a vast array of spaces and sensibilities. Zelda’s flexible form can be fashioned as a simple single diamond, arranged concentrically in geometric orbits, or fit together like the links of a chain.

SHY Brittain’s signature design, the Shy light uses the spare beauty of thin LED tubes to define the edges of its shape. Therefore, defining the function of the piece by its form and vice-versa. As a modular configuration, the piece can be adjusted and reformed in accordance with the need of the space. The sophisticated design in spirited configurations adds a sense of subtle drama to the volume. Commenting on the lighting industry as a whole, Brittain concludes: “Lighting allows me to think about what is being made in multiple ways, not only towards what the form will be, but also in the effects the lights will create.” “It’s been amazing to see how many new lighting designers have sprung up in the last year; I think it will be very interesting to see what results from it. Is this an indication of what a broad market there is for lighting? Or, will it be a case of survival of the fittest? In any event, I try my best to stay true to my style and vision and make the best work I can.” www.becbrittain.com







A MOMENT IN TIME As the name suggests, Wonderglass is a unique brand that manufactures glass installations and chandeliers, creating surreal and dreamlike atmospheres through a seamless landscape of lighting, subtle colours and visual elements. Working with traditional Italian glass blowing techniques, the products are exemplary of fine craftsmanship in conjunction with inventive and original design. Deriving inspiration from the idea of finding the ever evolving point of balance between innovation in the lighting industry, human sensibility and the frontiers of craftsmanship, Wonderglass pushes its limits in creating stunning products. Maurizio Mussati, founder of Wonderglass says, “We encourage people to notice those things they take for granted: to reach an unconscious recognition that everyone instinctively feels and understands.” Collaborating with renowned designers and architects such as Nao Tamura, Zaha Hadid, John Pawson etc., the brand brings together bespoke projects where both the raw

material, glass, and the projects themselves require high levels of technical skills. Reflecting a cross-cultural understanding of the creative communities of Tokyo and New York, Nao Tamura has designed incredible pieces for Wonderglass. One such installation that has seen much acclaim is Momento, a simple design that possesses a rare balance of innovation and beauty.

MOMENTO Deriving inspiration from the very nature of glass set in the mystic environs of Venice, the process for Tamura started with an observation of a bead of water, in quiet orb-like suspension transforming into a droplet. She noticed how the droplet begins to reflect its surroundings as it gathers light within. Drawing a parallel of this moment to when molten glass transmutes from a state of liquid to solid, Tamura catches the brilliance of light in this speck of time. For her, Momento freezes that instance of ephemeral beauty and turns it into a source of light. The elliptical shadow, folding over

itself, captures the glassmaker’s spinning technique in a gentle ripple of light echoing the surface of water, awoken by a singular droplet. Staring at the Venice skyline, Tamura was made conscious of the gentle movement that is invoked in the image by the presence of water before her. Her interpretation of this movement is seen in the metal ball that works like a pendulum, interacting with its immediate environment to emulate a slight but continuous motion in light. Composing a series of movements and shadows, Tamura facilitates the image of a large surface of water, precariously aroused by a multitude of droplets. Using hand spun glass to create the organic drop shape results in an interesting plethora of variegated shapes, reflective of the true characteristics of nature, and maintaining the ever-desiderate balance between innovation and beauty. www.wonder-glass.com




PASSAGE TO INDIA The story of the Anglepoise, the iconic British lamp and its springing journey to illuminate the world; in the words of Oliver Marshall and Kathryn Dighton.

What unites Her Majesty Queen Elizabeth, film director Tim Burton, designer Paul Smith and India’s first Premier, Jawaharlal Nehru? The somewhat unexpected answer is that all of them have been illuminated by a remarkable and enduring British icon: The Anglepoise® Lamp. In the 16 years (1948 –1964), that Jawaharlal Nehru lived at Teen Murti House, his official residence in New Delhi, the place reverberated with the hum of a new administration and basked in the glow of post-Independence optimism. The treaties and constitutions that shaped India’s future were drafted here, and Presidents, Prime Ministers and celebrities were welcomed through its gates. Sitting in stately fashion on Nehru’s desk, at his bedside and in his personal study, the Anglepoise® Original 1227™ Lamp was a constant companion throughout those momentous years. Fittingly enough, considering their prolific correspondence and letter writing, the tradition was carried on by his daughter Indira Gandhi, who kept an Anglepoise on her personal bureau. One can still see the very same lamps in their respective homes, both of which have long since been converted to museums. 
It is unclear exactly how long ago Anglepoise® lamps were first imported in India, but as well as making their way into the highest corridors of power, they are also seen lighting up the pages of fiction. In Salman Rushdie’s novel Midnight’s Children, protagonist Saleem Sinai writes his story illuminated by the lamp’s steady beam. By the author’s own admission, the lamp acts as an intriguing metaphor for the divided identities of growing up in post-colonial India. …now my dung goddess simply makes up a cot in the corner of this office and prepares my food on two blackened gas-rings, only interrupting my Anglepoise-lit writing to expostulate, ‘You better get a move on or you’ll die before you get yourself born.’ - Midnight’s Children, Salman Rushdie 1981 The Anglepoise® story can be traced back to pre-War Britain, where automotive engineer George Carwardine, a specialist in vehicle suspension systems, developed a theoretical concept for balancing weights using springs, cranks and levers. Working from his small

Copyright Nehru Memorial Museum & Library


Original 1227 Patent



George Carwardine

Model 1209

Anglepoise Original 1227 Desk Lamp with detail

garden workshop, Carwardine had chanced upon the means to create an articulated task lamp that could combine ultimate flexibility with perfect balance, and in 1931 a patent was filed for the unique mechanism that defines the Anglepoise®. The lightweight and graceful sprung mechanism designed by Carwardine bestowed a freedom of movement that set the lamp apart from other industrial working lamps of the time, with their often heavy and cumbersome frictionbased joints. Demand soon outstripped Carwardine’s small-scale supply and so he turned to world-class spring makers, Herbert Terry and Sons, to manufacture his design. Terry’s was one of the few companies able to produce springs of such complexity and had already extended their business to manufacture products that used the springs they made. In 1932 a further patent was acquired, the name Anglepoise® was registered and, under licence to Terry’s, the first Anglepoise® lamp, the Model 1209™, was launched. While the Model 1209™ was initially conceived primarily for the workplace - early advertisements highlighted the lamps benefits in workshops, factories and hospitals - the wider potential of this ground-breaking articulating lamp became clear and by 1935 a domestic version, known as the Original 1227™ was in production. Launched in 1935, it was the 3-spring Original 1227™ lamp that was to become the archetypal Anglepoise®. This lamp was aimed directly at the domestic market, with a more compact form than earlier models, a distinctive bell-shaped shade and decorative 3 stepped base - a subtle nod to the prevalent art deco style of the time. The lamp was an instant hit, subsequently illuminating homes, studios and study desks, endearing itself to young and old with its pure mechanical functionality and engaging anthropomorphic form.


The Original 1227™ design has naturally been refined over the years but is produced to this day and continues to outshine the many copies that have followed. While it’s place in the pantheon of design classics was assured, at the start of the new millennium and an impressive 80th birthday on the horizon, it was clear that an update of the original Anglepoise® design was required if the brand were to maintain its authority and relevance. This was achieved with Simon Terry, direct descendant of the company’s founder at the helm. Enter Sir Kenneth Grange, co-founder of the Pentagram design studio, creator of everything from the Intercity 125 high speed train and the new London taxi cab, to the Kodak Instamatic camera and the Kenwood food mixer. Over a 50 year career, Grange has distinguished himself in almost every project he has touched, received countless honours and awards and been termed the ‘Man who designed modern Britain’. Having previously identified the Anglepoise® as his favourite design and a ‘minor miracle of balance’, Simon Terry saw the possibility for a new creative synergy and Grange was appointed Design Director of the brand in 2003, charged with re-imagining Anglepoise® for the 21st century. The clean lines and minimal aesthetic of the Type 75™, Left Early Marketing Graphic Right Metal Poster

Anglepoise Type 75



Anglepoise Type 1228 Desk

Anglepoise Giant 1227

Anglepoise Type C

Type 1228™ and Type C™ collections that followed marked them out as highly distinctive new additions to the company’s cannon, while becoming amongst their biggest selling collections worldwide. Beyond lighting the domestic environment, Anglepoise® developed a significant and fast growing contract business, venturing further into the project arena. Meanwhile, the long held association with the creative world continues apace. For almost as long as they have been rolling off the assembly line, artists, writers, architects and designers have feted the Anglepoise®, ever reliant upon its strong, directional beam and remarkable articulation. Used by Brit-artist Tracy Emin and graphic design supremo Peter Saville, and name-checked as an all-time favourite by photographer David Bailey and design star Ron Arad, the lamp continues to aid and abet the work of some of the great creatives of our time. The much loved Giant 1227™ floor lamp, an up-scaled version of the Original 1227 desk lamp, started life as a tribute to children’s author Roald Dahl, who always kept an Anglepoise® by his side when writing. A playful oversized version was created for the Roald Dahl Museum and Story Centre and was intended to appeal to children. However, when Anglepoise® was inundated with requests for this mammoth version, they swiftly put the Giant into full-scale production. Beautifully crafted and made in Britain, today the Giant 1227™ floor lamp is one of Anglepoise’s standout products.


Type 75 Paul Smith Edition Two

Original 1227 Brass Maxi Pendant

In recent years, contemporary clothing designer Margaret Howell consummated her childhood obsession with the lamp by collaborating on special editions and colours sold through her own fashion stores. Just this year, print designer Eley Kishimoto applied a series of patterns inspired by the architecture of London’s distinctive ‘Centre Point’ tower to the interior of the shade of the Original 1227™ desk lamp; a subtle, decorative update. However, the single most significant recent partnership has been with global design house and fellow Brit, Paul Smith. Another long time admirer, the designer reimagined

Type 75 Maxi Pendant

Original 1227 Brass Wall Light

the Type 75™ desk lamp by applying his unique palate of contrasting colours to each individual component. First launched in 2014, the Anglepoise® + Paul Smith collaboration succeeded in taking the brand into exciting new territories and introduced the product to an appreciative new audience. After pioneering and perfecting the task light and managing a highly successfully reinterpretation of the brand for the 21st century, Anglepoise is now available across the world. Pushing the envelope in every respect, Anglepoise recently launched two significant new collections: a 5-piece Original 1227 Brass Collection with solid brass

components and an imposing Type 75™ Maxi floor lamp and pendant. Coming next is another 4-piece collection based on the Original 1227™ design, scaled down to suit smaller spaces … and there’s much more on plan. No matter how one decorates the lamp, or reimagines its service, the Anglepoise® retains its position as a classic – a lighting product that redefined the idea of functionality with ease, convenience with aesthetic and quality with value. The Anglepoise® stands witness to time and testament to history as an iconic piece of master design. www.anglepoise.com


CONDUiTING TRENDS / louis poulsen - poul Henningsen, Arne Jacobsen

THE LIGHTING ARCHITECTS As the world revelled in the advent of the electric bulb, two Danish architects set out to create lamps that reimagined the harsh mechanical light as the the soft glow of a single flame. Claus Østergaard, Marketing Manager in Louis Poulsen A/S, describes how Poul Henningsen and Arne Jacobsen changed the way we ‘look’ at light, by designing glare free, uniform illumination.

Pic: Walther Månsson, Scanpix

‘Designing for light’ and ‘Designing with light’; are phenomena that most architects respond to inherently. They are trained to look at light and react to it in their existing spaces and those that they desire to create. However, there are few designers, let alone architects, who can actually ‘Design Light’. It all started with a sense of indignation: At the beginning of the twentieth century, electric light was becoming popular in Copenhagen, and the young architect Poul Henningsen thought it extremely unpleasant. The naked bulbs produced so much glare, they bathed the entire room in a cold light and reinforced the shadows – in short, causing the room to lose its entire ambience. It is also believed that Poul Henningsen ventured into the world of designing light due to a rather peculiar complaint by his mother. She found that the electric bulb made her look old, emphasising her wrinkles and fading the colour from her face. Henningsen decided to create a lamp that would use the now available electric bulb, but render space in a warmth closest to that of a naturally lit flame. He set off to develop a lighting system and outline a lighting philosophy, which defined the principles for glare-free and comfortable light. Commonly known as PH, he described, among other things, the three parameters which he felt were most important when lighting a room: Function, comfort and ambience – summarised by the abbreviation FCA©. Based on these principles, PH began his journey in the field of designing lamps. In 1924, PH partnered with Louis Poulsen in the anticipation to partake in the International Exposition of Modern Industrial and Decorative Arts in Paris the following year. Winning the gold medal with his newly developed System PH firmed their partnership and kick-started Louis Poulsen’s career as a lighting manufacturer. The PH 3½-3 pendant from 1928 is one of PH’s first lamps in the famous system, and was designed just before PH and Louis Poulsen’s big breakthrough – and while the


All Sketches: Courtesy of Louis Poulsen

patent application for System PH was still being processed by the authorities. After this, Louis Poulsen’s lamp production really took off. PH’s contacts in the architectural world gave him the opportunity to design the lighting solutions for a number of distinctive buildings for his colleagues, for example the large exhibition venue Forum in Copenhagen, which is still in use. However, it no longer features his

lamps, as they were unfortunately destroyed during the Second World War when the Germans destroyed the structure. By far the majority of PH’s lamps have been developed for specific building projects. The most famous is the iconic lamp which he created for his friends, the architects Nils and Eva Koppel, who designed Langeliniepavillonen, a restaurant and party venue on the waterfront in Copenhagen. The

lamp is PH Artichoke, today one of the most famous lamps in the world. It can be found in some of the most prestigious concert halls, universities, parliament buildings and penthouse apartments, in addition to private homes, where it is often passed down from one generation to the next. PH was close friends with Sophus Kaastrup Olsen, Louis Poulsen’s managing director, and together they ran the company as


CONDUiTING TRENDS / louis poulsen - poul Henningsen, Arne Jacobsen

All Pics: Courtesy of Louis Poulsen

Courtesy of Louis Poulsen

Pic: Lars Kaslov


a radical business with clear views on society, culture and development – and on the products they manufactured. “You can’t spend your time advocating ideas like Poul Henningsen’s while at the same time producing a load of crap,” Olsen put it forthrightly. The radical views on quality and illumination are clearly reflected in the manufacture of the lamps. PH worked to the highest standards of craftsmanship, and for more than 80 years Louis Poulsen has been the sole manufacturer of his designs. This is one of the reasons why many of his classics today fetch absolutely astronomic sums at auctions all over the world. Another key factor when it comes to the durability and popularity of the PH lamps is their basic design, the logarithmic scale that is derived from natural, organic shapes and which directs the light so beautifully. At the same time, his lamp design has remained true to the simple principle that every detail should serve a lighting purpose. No decoration – only a functional purpose. It is this simplicity that gives the lamps their chameleon-like quality, and which also means that the designs endure year after year, and that today they are more modern than ever. However, it is interesting to note what these lamps are capable of. Perhaps, more than any other product, they can add edge and character to a project. The light behaves naturally in the surroundings and sets the scene and lends ambience, because lighting design is always integral to the product. The advantages of each particular light source are taken into account, and not least its disadvantages, which are eliminated to perfection. This results in the creation of a lighting product that blends in, produces the right atmosphere and ensures comfort for the people using the space. Louis Poulsen was introduced to the world of architecture by Poul Henningsen, and they were soon joined by new business partners and architects. In particular, the worldfamous Danish architect Arne Jacobsen, who developed the lighting for the world-famed SAS Royal Hotel in Copenhagen with Louis Poulsen. The partnership also extended to other celebrated buildings such as the St. Catharine’s College, Oxford, several Danish city halls and Denmark’s National Bank, and resulted in a range of specially developed fixtures that were put into production and which have since achieved international recognition and the status of design icons. Arne Jacobsen was a master of modernism and minimalism, and architect of the ‘total design’ concept. Everything from taps, toilet brushes, towel rails and shirt drawers to

Arne Jacobsen

All Drawings: Courtesy of Danish National Art Library


CONDUiTING TRENDS / louis poulsen - poul Henningsen, Arne Jacobsen


AJ Eklipta

glasses, mugs, vacuum flasks, ashtrays and door handles, and even keyholes – were designed down to the smallest detail. In his buildings, nothing was left to chance. His most famous lamps are still part of the Louis Poulsen product programme: Munkegaard, developed for Munkegaard School in the Municipality of Gentofte; the AJ Royal family for the SAS hotel in Copenhagen; and AJ Eklipta which was designed for Rødovre Town Hall, and was used extensively at St Catherine’s College in Oxford. The Munkegaard fixture evolved from the need to alter the installation at site. While the school ceilings could only accommodate 100mm deep holes, the fixture remained 130mm in height. Addressing the protruding edge, Arne Jacobsen designed the transition from ceiling to fixture edge as an illuminated slit, thus creating a halo

effect around the luminaire and obliterating daylight shadows and the contrast between the fixture’s own light and shadow. It now appeared as a disc hovering just below the ceiling, glowing with a soft and diffused light. Munkegaard and AJ Eklipta have won particular acclaim among architects all over the world, and are today found in some of the most stunning buildings worldwide. The reason undoubtedly lies in the simplicity of the lamps – their quiet presence, which nevertheless makes all the difference to the lighting of rooms, imbuing them with atmosphere and identity. Both designer, Poul Henningsen and Arne Jacobsen brought forth their training in architecture, a deep understanding and perception of the human mind, and brilliance in visual aesthetic to their creations. They worked in distinct styles,

yet catered to the larger need for quality lighting. Their approach was to address indirect, glare free illumination, through thorough detailing and exploration of form. Their architectural language facilitated their pursuit of working with varied material, textures and colours. Be it the PH Artichoke or the AJ Lamp, these masters of enterprise created masterpieces of light that till today stand as iconic symbols of great design. Now as then, their designs enjoy widespread appeal, and whenever world-leading design museums organise exhibitions of their legendary lamps, people flock to see them. With unfaltering support from Louis Poulsen, they crafted not only collections, but also eras of lighting products. Poul Henningsen and Arne Jacobsen are probably the two architects who have played the greatest role in establishing Louis Poulsen as a lighting manufacturer. Having collaborated with many other architects as well, Louis Poulsen has seen much popularity. They have worked with renowned designers such as Jens MøllerJensen, who designed one of the most wellknown and also the most copied outdoor lamps – the Albertslund lamp; Vilhelm Lauritzen who, in close collaboration with Louis Poulsen, designed the lighting fixtures for Radiohuset in Copenhagen, the concert venue Vega, and the original airport terminal building ‘Træslottet’ (The Wooden Castle) at Copenhagen Airport; and Alfred Homann, who also achieved worldwide fame as a lighting designer with his Nyhavn series, which enjoyed considerable success in the USA, and was subsequently followed by the Kipp series. The holistic design tradition has been upheld throughout the company’s history, with Louise Campbell, Foster+Partners, nendo, Christian Flindt and Øivind Slaatto as some of the more recent representatives. Where the Scandinavian lighting tradition meets some of the world’s most innovative architects, it results in lighting solutions that are elevated beyond time and space – and into the realms of international topclass design. In developing tomorrow’s lighting solutions,


Arne Jacobsen Drawing: Courtesy of Danish National Art Library

Bella Sky

Louis Poulsen is constantly being challenged by architects and lighting designers. In return, the company challenges the designers with its views on lighting – and no design enters production without having first been tested for its feel good factor. With a history of working with architects, Louis Poulsen has crafted lamps many as project products. This is clearly demonstrated by the fact that most of the product programme has been designed in cooperation with architects for specific commissions. Known for its close customer cooperation, they develop each individual project as a creative process to which everyone contributes know-how and passion in order to achieve unique solutions that will withstand the test of time. Although technology never plays the leading role, the ultimate lighting solution does require a technically sophisticated product. This also applies to the classic fixtures, whose technical innards are continually being updated and developed to adapt to new science, such as the infamous LED. Louis Poulsen has been a forerunner in lighting, and long-standing, successful collaborations with master architectsturned-designers such as Poul Henningsen and Arne Jacobsen have aided in establishing the repute of the name. They continue to stretch their limits, carrying traditional work forth as well as exploring new bounds. They strive for well-being, a philosophy close to their heart for over 100 years; and armed with their lighting philosophy derived from PH, they continue to pursue the mission of creating functional, comfortable and atmospheric lighting, the ideal that PH and AJ both strived towards. www.louispoulsen.com

Bella Sky

Pics: Lars Kaslov for Louis Poulsen


project / house lights - introduction

house lights Invoking the rising sun, embracing its crimson tide, basking in the glory of its heat seeping into our homes and hearts, the phenomenon of natural light is as natural as life. What then do we derive comfort from, seek warmth in and query curiously about, after nightfall? As the sun culminates the journey of its day and slowly slips into hiding, we diffidently turn towards alternate sources of visionary aid – artificial light; light that is intended to be placed in a particular manner, meant to cast a peculiar glow, purposed to take a certain position, and emanate the luminance we anticipate. Light no more is solely a universal phenomenon to comprehend and control, but a tool in our hands, with which we can paint and create. Intended light becomes a design tool to accentuate space, emphasise focal elements and generate an ambience of desire. In the built environment, light is used to aid visual comfort, amplify and articulate spatial experience, enhance architectural language or emphasise the design vocabulary. It can be concealed to radiate an ethereal glow, or become the object of display itself. Intended light becomes the magic wand in the designer’s hands to breath a soul into the space. The following ten residential projects illustrate this very phenomenon.

Sagrada Familia, Barcelona

Pic: Sumher Panjabi


There is no escaping light. It surrounds us copiously. It embraces us, sometimes engulfs us. It protects us, sometimes provokes us. It prompts and urges us, but mostly it acculturates us. The presence of light in space, the absence of light in space and the opportunity to control light in space, is the intrinsic relationship between light and space. “Space and light and order. Those are the things that men need just as much as they need bread or a place to sleep.” - Le Corbusier In the tropics, we have a unique light One which is the giver of form, texture, feel, atmosphere One which calibrates the passage of time One which through the depths of shadows and variances along surfaces Imparts a sense of joy... One which is unforgiving at zenith, making flat faces seem like pockmarked skin And which an hour before sunset, turns everything golden and precious... Understanding this phenomenon is perhaps most difficult, intuitive, personal and rewarding! Louis I. Kahn, Le Corbusier and Charles Correa used sharp shadows, bold forms, and zenithal light to great effect. Geoffrey Bawa however, harnessed tropical light in a more latent fashion. Every space was imbued with reflected light from sky courts, thin as slivers. One gets reminded of the Padmanabhapuram Palace, a complex in Kerala, which perhaps captures every nuance of tropical light. The encounter of space itself is almost cinematographic; in the way each time light is coaxed into the space, almost as an acrid spice in a recipe, forbidding a heavy hand! From the dark depths of the inner sanctum To the iris-contracting flood in long elegant courts The rhythmic pattern of the sharp shadows of eaves onto walls below To the gradation of linear bands on voluptuous rain marred plinths These lessons are hard to learn, much as others Scale, proportion, movement, surprise And many more that play covert but pivotal roles in true architecture The phenomenon of light, celebrates architecture as life, as experience, at once as tangible and ephemeral. As architects we try to befriend daylight, adjust it through pergolas, courts, wall thicknesses, jalis, clerestories, louvers, dark floors and the like. Each device is intended to refocus and fine-tune its purpose to work in tandem with the overall. The reflection of this phenomenon off paint, brick, plaster, stone, wood, glass, water, foliage, is always special. During the monsoon, the iridescent moss picks up the light on odd afternoons and makes the edges of the building luminescent! And we are left to wonder, how much of it is our own work, and what magic does light itself perform.

Bent over drawings, we begin thinking about the absence of light post sunset. How does one make the hours up to sunrise as enthralling? We need to start imagining much more acutely, what will a fixture emitting photons do? It’s all trial and error, study, maintenance, cost related decisions and much more. Through years of experimentation and record, one prays to get it almost right! However, at sunrise, Mother Nature takes over again, and the symphony begins to bloom afresh.... While conceiving a project, many preoccupations, fascinations, memories surface from the subconscious. They manifest themselves in the form of images within the mind, and the mind adjusts the light in these images like a perfect exposure. However, the translation of these poetic imaginings becomes the real challenge; the juice of what we do for a living, perspiration far outweighs inspiration. We have pondered about light in the tropics, a subject we study on a daily basis. When you travel, if you have a keen sense of light, you notice minute differences in the sky, the incident light from the sun, the length of shadows, and the extended spans of twilight. This creates a sense of the new location, and leaves before you the indelible memory of having travelled. It is often discussed and analyzed, how profoundly nature works. We become children again, and the newness of the day, renews the way one sees the world. Antonio Gaudi’s Sagrada Familia comes to mind. Our love for its dark looming perspective, gives way to the lofty naves of European cathedrals. Gaudi’s genius brought the magic of light from atop. His vision of being in a forest when within the cathedral, at once ties sublime light with nature, in a way that summons the sense of a force. The passage of day within the volume of the stone forest is what is most inspiring. Every visitor must find his or her own definition of god, and that is the purpose of any temple. The association of light as the form giver, with spaces that reinforce hope, has come down through the ages from the earliest stone reliefs of Ra (the sun god), through medieval cathedrals, Byzantine churches (Hagia Sofia), and modern day basilicas. More than any other natural element, light possesses the power to reveal, transform and invigorate a space. Over the millennia, man has experimented in infinite ways with this element. Yet, light cannot be explained, its experience though can be heightened through architecture. - Sanjeev Panjabi and Sangeeta Merchant Architects, SPASM Design


project / House On The Cliff, Alicante, Spain

BLAZING WHITE Fran Silvestre Arquitectos designs a white monolith that shines through the thicket of a tropical ridge. Painting the blank canvas in a profusion of white light, the splendid house comes alive to reveal boundless volumes and limitless vistas over the Mediterranean.

Pics: Diego Opazo


As the placid blue of the Mediterranean tickles the feet of a craggy Spanish hillside in Calpe, Alicante, the lustrous moon ascends into a deepening sky casting a silvery spell over what appears to be an alabaster delicacy nestled into the asperous roughness. The pristine white form emerges in poised precision, precariously leaning over the edge. The House on the Cliff commands a gentle solitude, deriving meritable applause in contiguous silence. Architect Fran Silvestre effortlessly juxtaposes the intelligible external composition with its context, leaving the spectator pining for further exploration. “Our architectural language stems from a considered compromise between the will and desire. Each project is a response to the client’s identity, and thus the design arises from a dual commitment – the desire to seek beauty and technical elucidations to the prevalent context. It is imperative that the process seeks satisfaction of all those involved in the elaboration of the project, be it the inhabitant or customer, the designer or builder,” says Silvestre. Influenced by the ribbing but sensuous sculptural work of Andreu Alfaro, coupled with Mediterranean leanings, the house was designed as a second home for the clients; responding to their desire to resolve the program in a singular floor, on the 80% steepness of the hill slope. Described by the designer as, “A house in the air, walk on water,” the building is a literal translation of the précis. While an imposing mass containing the main house cantilevers vastly over the water’s brink, an infinity pool located transversely extends to smudge the line between the blues. A decorous staircase rises along the explicitly large wall, leading to an inconspicuous puncture in the façade.


project / House On The Cliff, Alicante, Spain


Reaching the culmination is a turning point in the experience of the building; faced with the expanse of water in front, the expedition swiftly changes course as the steps further lead into the shaded underbelly of the enormous overhang, into the prominent suspended volume above. Choreographing movement, defining form and illuminating conformation breathes an ethereal soul into the house. Using physical models and comprehensive computer simulations to study prevalent climatic conditions and sun angles, the architects were able to orient the building to manipulate the ingress of natural light and frame remarkable views from the interiors. “Light plays a crucial role in the design of a house. It is essential to adapt the characteristics of the house to maximize light,” says Silvestre. The vast open plan is enclosed on the outer edge by large glass sliding doors that part to welcome an 18-meter long terrace into the house. Offering uncontested panoramic vistas, the covered verandah shelters the space from the direct summer sun, but welcomes the winter light with much grace. Obscuring the margins between the exterior and interior realms, the volume is engulfed in natural light. Silvestre elaborates about the dynamism of daylight on the building, “It is a pleasure to contemplate the architecture with its white walls of lime against the blue background of sea and sky. On the other hand, the altering quality of light through the day generates different atmospheres as time passes. It is curious to see how the spaces change with time. During the day, the house stands in pure shapes, while shadows angle across the white surfaces, recalling traditional architecture.”


project / House On The Cliff, Alicante, Spain

Darkness demands a surreal approach to illuminating the blanched marvel. Softly ablaze in a kind wash, the stuccoed edifice glows in the tropical night. An intentional use of white light in myriad renditions of warmth creates a compelling visual hierarchy of perception. Limiting the palette to hues of white gives way to reflections in a plethora of additional colours. The pool glows in a lenient blue, scraping the adjoining wall in a shallow gradient; while concealed

strip light running along the staircase draws a sharpened diagonal across the surface. The tame white of the painted exterior plays perfect host for warmer light through openings to appear alight; while the interior volumes are bathed in mellow tones to create humbler environs. The blank canvas is literally smeared with variegated radiance, some definitive strokes, while others tenderly reflect their source; the architecture begins to mimic a light box.

Artificial light was skillfully integrated into the architecture. Coves in the ceiling fitted with fluorescent linear lights provide a diffused illumination that produces a calm and homogeneous environment in the home. Spotlights are restricted for concerted illumination of architectural elements and to highlight moments of importance. Levels of illumination differ in spaces and functions. While the living and dining areas enjoy brighter tones, the private spaces are kept intimate in dimmer light.


The House on the Cliff stands resolutely in its context, emanating a considered sophistication as its brilliance takes form. Says Fran, “For us it is not a matter of style. We believe that the importance of a text is not in the handwriting; it lies in the content. The same happens in projects, and sometimes our designs do not respond to the pattern of white Mediterranean architecture, even though most of our projects are located along the Mediterranean coast.” www.fransilvestrenavarro.com

PROJECT DETAILS House On The Cliff, Calpe, Alicante, Spain Architecture: Fran Silvestre Arquitectos Project Team: Fran Silvestre, María José, Maria Masià, Adrián, Jordi Martínez, José V. Miguel Interior Design: Alfaro Hofmann Contractor: Construcciones Alabort


project / Library House, Bangalore

ARCHIVES OF MODERN LIVING Reviving the nostalgia of old Bangalore, providing the comforts of modern design and formulating a self sufficient, energy efficient building system; Khosla Associates creates a library in the heart of the city – housing a family of ardent readers, a mounting collection books and a beautiful assemblage of moments of light in space.


Pics: Shamanth Patil J.


project / Library House, Bangalore

The Library House was born of a very well articulated client brief presented to architects Sandeep Khosla and Amaresh Anand at Khosla Associates. The family of three comprising an entrepreneurindustrialist married to a bohemian writer and a teenage daughter; desired a space that would reflect the diverse range of their lives and prove a respite from their daily stresses. They wanted a home reminiscent of the memories of growing up in “old� Bangalore, a city of sleepy colonial bungalows, all the while maintaining the clean modern lines of contemporary architecture. They fancied open spaces, covered verandahs and large gardens with an abundance of natural light and ventilation. And they aspired for all this within the city phenomenon in an urban context. The design grew out of several conversations and deliberations with the clients - that

the house should demarcate public and private spaces cleverly, and since the family members were avid readers, it needed to accommodate their ever-growing library of books. An energy conscious family, a prominent component of the brief was to equip the building with photovoltaic solar panels that could generate enough energy to fulfill the lighting and electrical needs. All these considerations were important in establishing circulation and the essential spatial planning. From the street-front, a modest walkway flanked by majestic wooden columns negotiates a tropical courtyard replete with a fishpond, yellow ochre walls, and an ancestral swing; leading to a dramatic, light filled cathedral like foyer space. The foyer acts as a buffer from which one can move into dining, kitchen and staff areas on one side and the library on the other.

Taking the place of pride, the library is a generous double height space of 750 sq. ft. with a 25 feet high gabled roof supported on precise polished wooden trusses. An exuberant skylight running the length of the roof floods the volume with natural light. A 30 feet long bookshelf embracing the opposite wall is rendered in golden hues as the sky changes colour through the day. The library is the central focus of the house where the family congregates and carries out many of its activities. Areas carefully demarcated for specific functions such as lounging, studying, listening to music, playing the piano, and entertaining are carved out in an open plan layout. Spilling into a capacious verandah through large glass sliding doors, the margins between the inside and outside are substantially blurred. The interconnectedness of the library area and



project / Library House, Bangalore

the verandah, which further overlooks the pool deck and garden, allows for a grand and seamless living space, and an abundance of natural light. While the glass doors, complimented by sizeable clerestory windows above allow the gentle north light to percolate into the library, north-facing skylights add to the soft and even glow. Hefty overhangs ensure direct sun is kept at bay and a diffused light penetrates the depths of the space. It was imperative for the design to facilitate plentiful natural light in the volume. Sandeep Khosla says, “I remember in this house changing the size of certain openings even during the construction process in order to admit a comfortable quality of natural light. A sharp slit of skylight bathes the lofty foyer space with drama, and skylights in the deep verandah allow even north light to come through into an otherwise completely shaded and dark space.â€? The transition from day to night becomes as important. After dark the library and verandah block radiates mellow warmth, like a genial light box in the landscape. Using a combination of luminaires enabled the designers to create accents and highlight selected elements. A splattering of suspension, floor and table lamps from brands such as Vitra, Foscarini, Louis Poulsen, Vibia and Kartell, which provide pools of light concentrated on desired activities, compliment this. The Mangalore and Kerala tiled verandah roof supported on a series of distinguished timber columns is rendered in distressed white paint. As day gives way to night, the canvas inverts to offer an alternative play of accentuating the design language. A continuous band of concealed LED strips in a colour temperature of 3000K wash the ceiling surface to highlight its textured finish; while the lustrous wooden columns are uplit with 3W LED fittings, also in 3000K. The lofty concrete columns upholding the weight of the bedroom block above, guard the depths of the pool below. Showered in a tender glow of 12 watt surface mounted narrow beam LED downlights, they stand as silent sentry in open court. The choice of material in the project is hand crafted and local, using large expanses of yellow Jaisalmer stone in the foyer, dining and library; which gives way to a delicate custom designed floral pattern created in terrazzo tiles in the verandah. The architectural narrative is effortlessly translated into the carefully curated interior dĂŠcor. The deliberate selection of furniture comprises of handpicked pieces, each telling its own story. The library is anchored by a


large L shaped seating configuration, the study table converts into a pool table and other articles act as whimsical and playful art objects floating within the space. The verandah comprises an eclectic collection of furniture that converses with one another in a cluster of seating. Pieces by renowned Italian brands like Moroso, B&B Italia and Emu sit comfortably in juxtaposition with colonial and other bespoke artifacts. The same design language that defines the architecture and interiors is transformed into a meticulous lighting scheme. Highlighting the importance of light as an integrated design tool, Sandeep says, “The architectural lighting was considered in the initial design development phase of the project soon after we completed the design phase, and then it was detailed in the construction drawing phase. The decorative light fixtures were considered along with our interior design mood-boards, about six months into the construction process.” Light has been used as a medium to articulate design elements across the project, and as an instrument to create moods and ambiences as desired by the family. Sandeep elaborates how certain light fixtures not only provide warmth to

the space at night, but also add to the aesthetic sensibilities. A cluster of Frank Gehry Cloud lights anchor the main L shaped sofa arrangement in the library; the Red LZF link lamp over the dining table emanates the glow of the setting sun; and the large Planet Suspension lamp over the master bathtub creates the aura of moonlight. Khosla Associates crafts a masterpiece in the Library house, catering to the complex client brief, bringing together visual appeal with ecology and a great degree of efficiency. Harvesting excess rainwater in a large underground sump, and equipping the building with photovoltaic solar panels on the southern gabled roof, the house generates most of it’s own energy. Refraining from automated lighting systems, the approach has been to provide a variety of different types of lighting which may be switched on an off to get the desired mood. While sometimes the verandah can be lit using only the cove and column lights, adding to the ambience with candles and lanterns; at other times, floor and pendant lamps may be switched on for additional brightness. Sandeep summarizes the Library House as, “a house that juxtaposes different

moods within its plan, modulating scale and creating an element of surprise as you enter, and a process of discovery as you move along. Spaces are layered and a continuing bricolage of old and new, global and Indian extends through all the spaces.” www.khoslaassociates.com

PROJECT DETAILS Library House, Bangalore Clients: Nikhil Kumar and Lavanya Sankaran Architecture and Interior Design: Khosla Associates; Principals Sandeep Khosla and Amaresh Anand Design team: Sandeep Khosla, Amaresh Anand, Priyanka Sams Landscape Design: Dewa Kusuma, Bali.

LIGHTING SPECIFIED Vitra: Cloud suspension lamps, designed by Frank Gehry Bungalow 8: Vintage Floor Lamp Foscarini: Tress Grande suspension lamp Foscarini: Planet suspension lamp Foscarini: Giga Lite Floor lamps Louis Poulsen: Doo Wop (Gold) suspension lamps LZF: Red Link Suspension lamp Vibia: Wind Pendant light Kartell: Bloom suspension lamp, designed by Ferrucio Laviani Cona Lighting Solutions: downlights and LED strips All lighting in the house is powered by 5 kva generated via solar panels on the sloping roof of the Library.


project / Dewan Residence, gurgaon, haryana

Pics: S.Thiru

TREE OF LIGHT If space, light and order are what we need in our homes, this treasure chest of living designed by Hive Studio and illuminated by Design Matrix brings together space and light in a narrative of juxtaposed compositions. Blurring and at times erasing the boundaries between the outside and inside, the architectural and lighting vocabulary is defined by a strong graphic statement. The Dewan Residence was conceptualised as a dwelling for three families living together in the busy city of Gurgaon – Mrs. and Mr. Dewan and their two sons with respective families. The older son Gaurav, a graphic designer represented the client’s table putting forth a rather unusual brief – written words accompanied by a splattering of graphic elements, symbols and illustrations; and the house had to be representative of all that. Working with Vikrant of Hive Studio, a young Delhi based architectural practice

exploring boundaries and shedding norms, the duo created a haven for the Dewan family. Their diverse backgrounds and keen interest in exploring visual aesthetics led to an exciting play of graphic patterns, crafted volumes and choreographed moments through the home. They further widened the team by inviting lighting design consultants, Design Matrix to work on the project. Using light as in inimitable tool, the house is conceptualised as an assemblage of design exploits addressing varying needs.

Wanting to keep spaces private yet connecting them visually, led to a series of interesting architectural volumes catering to personal solitude as well as offering visual and verbal exchanges. This gave way to a multitude of stepped internal terraces that encourage a network of views, pull daylight into the interior spaces and yet, present each family the privacy they cherish. Opening onto a central courtyard, the multileveled terraces are tied together by a singular Champa tree that


ascends through the atrium-like space. Concentrating all functioning and flow towards the tree, the architecture radiates and the design revolves around this focal point. The tree has become symbolic for the Dewans and is used repeatedly as a powerful metaphor through the house. While the central court and forecourt are pierced with this topiary, their positions as focal points of energy are accentuated by gently grazing them in a soft warm light from below. Spike mounted uplighters from local vendor Vizion Lighting are used as accent lights to create a gentle and relaxed mood in the open spaces. Constant visual association of the courtyards, terraces and the interiors begins to diminish the boundaries between the inside and outside. The transition from interior to exterior is made gradual through multiple layers of design intervention. While balconies wrap significant lengths of the faรงade, they are screened by a


project / Dewan Residence, gurgaon, haryana

series of perforated metal panels. The symbol of the tree is again witnessed as a flat graphic on these sliding panels, which come together to form the Kalpatru or Tree of Life. While daylight filters through the branches of the rasterized image, at night it is intentionally left unlit, to be seen in a powerful silhouette against the light inside. The terraces are bathed in a diffused glow achieved through linear strips of LED embedded in the timber-clad ceiling, while floor recessed uplights graze the highly texturized wall surfaces in exposed concrete. The concrete walls extend into the house, benignly transforming into solid partitions that stand contrasted against highly polished marble flooring and glistening tabletops. The lighting scheme intentionally defines an interesting hierarchy of perception by highlighting pivotal moments and critical junctures. The dining table is bathed in a bright light to emphasise its familial position in the house. Consecrating the ritual of the family meal, the motif of the tree manifests yet again in the form of a pendent light fixture suspended above. Incorporated into the light itself, the element becomes a unique avatar in its own transformation. Moving through the house, the quality of light alters with mood and function. Coves in the bedrooms wash the vertical surfaces of the walls from above, creating an illusion of brighter and bigger spaces,


while restraining the consumption of energy to a mere 6 watts per meter. 7 watt LED downlights dot the ceiling for more focused directional illumination. Efficient luminaires coupled with a smart control system, enables efficacy and optimum use of energy. While the house is integrated with all necessary lighting and control tools, fun accessories and quirky products add a sense of delight and homeliness to the space. Glass corner windows become showcases for larger-than-life floor lamps, and task lights turn into sculptural objects. Integrating graphic into the design language, light into the architectural process and architecture into the lives of the clients, the Dewans have created a treasure chest of a home for themselves. www.designmatrix.in

PROJECT DETAILS Dewan Residence, Gurgaon Client: Gaurav Dewan Architects: Hive Studio Lighting Design: Design Matrix

LIGHTING SPECIFIED Philips: 7W LED retrofit lamps Vizion Lighting: Trimless LED downlights Vizion Lighting: Spike lights Vizion Lighting: Linear LED based profile in terrace ceiling


project / Pied-a-terre, Chennai

SLATTED LUX(E) Niels Schoenfelder and J. T Arima of Mancini Enterprises re-craft an apartment for fluidity of space, customizing timber slatted joinery, creating bespoke light fittings and constructing miraculously disappearing partitions; using light to unify the home by virtue of omnipresence around its luxurious central core.

Pics: Mancini Enterprises


When the clients bought an apartment in Chennai as their pied-a-terre, they had a specific brief in mind for its renovation. Responding to a video clip from a movie starring Al Pacino, the architects at Mancini Enterprises, Niels Schoenfelder and J.T Arima, turned the space around to create a luxurious home away from home. Being involved from the time the building was under construction gave them flexibility to rework the layout and create an open plan, which allowed spaces to flow from one function to another. Crafting a central core that houses a striking bar and copious storage, all other spatial zones are planned around its periphery. While the guest room at the far

end of the apartment achieves maximum privacy, other areas such as the lounge, study, dining and kitchen are enclosed with sliding partitions, which when opened allow for flexibility in sculpting desired spaces and volumes. Working with a sumptuous material palate of polished grey concrete floors, hand sanded fine cement plaster ceilings, reclaimed teak cladding, local hardwood, natural linen, leather accessories and a splendid collection of accouterments, Mancini successfully rendered what was meant to be a temporary abode into a handsomely fashioned and prudently constructed personal space. Addressing the client’s need for darker

hues and masculine tones, the volumes are kept understated and calm in their design aesthetic. This idea is chiefly supported by the lighting scheme chosen to emphasize the central wooden core, wherein a customized ‘light rail’ follows the profiles of the curved walls to accentuate the untreated teak slats that nobly rise upwards. The hollow profile is fitted with 3000K LED strips that reflect light into the recess at the bottom of the slatted wall. This creates an intimate glow along the lower reaches of the space, which is valiantly juxtaposed with the confident and virile edges of the bar and storage corridor. Additional LED strips with acrylic covers are recessed along the brinks of the inside


project / Pied-a-terre, Chennai



Interior Layout

hallway to highlight its linearity and length, and define its directional geometry. With a series of 10-watt power LED fittings with mirror optics, mounted onto the ceiling track that encircles the periphery of each room, careful consideration is given to allow for flexibility in illuminating architectural features, artworks and decorative elements. A collection of wellcurated luminaires, such as decorative lamps by Bo Concept, the Miconos floor lamp by Artemide in the living room and a table lamp from the same collection in the bedroom add to the extravagance

of the home. A sequence of impeccably cast concrete pendants by Foscarini, float sublimely above the dining table, exuding pools of placid illumination on the polished teak surface. While sunlight plays on the somber linen wall surfaces generating a surreal calm in the space during the day, the evenings are witness to a more affluent ambience, where the wooden interiors and luxe dĂŠcor glow in the warmth of cardinal accent lighting. www.mancini-design.in

PROJECT DETAILS Pied-a-terre, Chennai Architects: Mancini Enterprises Project Team: Niels Schoenfelder, J.T Arima

LIGHTING SPECIFIED Artemide: Miconos floor and table lamps, designed by Ernest Gismondi Foscarini: Aplomb suspension lamps in concrete, designed by Paolo Lucidi and Luca Pevere Bo Concept: decorative floor lamps Customized LED light rails


project / Brick Kiln House, Alibaug, maharashtra

Pics: Sebastian Zachariah


BRICK BY BRICK Drawing inspiration from the brick kilns that dot Maharashtra’s rural landscape, SPASM Design creates a striking home in Alibaug. Articulating spaces through a creative use of light, they add soul to the home, finds out Devyani Jayakar.

Throughout history, man has flirted with light as a conjunct to architecture in his dwellings. With all its positive associations, the resonance of light in the imagery of design has been pervasive. Thinking out of the box, Sanjeev Panjabi and Sangeeta Merchant of SPASM Design have controlled light with a tight rein, treading that fine line between too little and too much. “Our first visit to the site was during the monsoons. Since speed boats were not plying due to the rough seas, we had to drive from Mumbai to Alibaug. Brick kilns dotting the landscape were recurrent images which made a lasting impression on us. When the lady of the house told us that she likes the texture of exposed brick, it was like a serendipitious opportunity to put

to use the inspiration stemming from the brick kilns,” says Sanjeev. Tamarind and Mango trees, with the odd Champa and Vad made up the grove at the front of the site. Part of the plot was four feet lower and was an unkempt paddy field at the rear, while an asphalt road lay at the front. Nestled amidst the aforementioned canopy of trees, sits the 8934 sq. ft. house. Not a single tree was cut in order to build the home. “In fact, we planted 200 more,” says Sangeeta. “Since several of them have been worked into the design, the process was rather experiential. In addition to being the architects, we were also the contractors, so the work was pretty site intensive.” The pool echoes the shape of the sun patch between the trees, so for

most of the day it is a cheerful spot, an oasis, its organic form evoking a watering hole with a well attached to it. “We were clear that we didn’t want to create a Spanish Hacienda with a red roof and white walls, which is what several other homes seemed to be like,” says Sanjeev. The house has a linear form and is “one room thick,” he adds. Composed of two wings, the guest wing houses three bedrooms, while three more are reserved for the family. The thermal mass of the house ensures that it takes long to heat and long to cool, resulting in interiors which are cool during the day and warm at night. A generous verandah encourages outdoor occupation. Utilising local materials reduced the carbon


project / Brick Kiln House, Alibaug, maharashtra

footprint – black cudappah flows through the interior on the floor, while all the wood is salvaged from old homes. No new logging was used in this design. “During the three and a half years that the construction was going on, all the human resource was hired from neighbouring areas and disbanded when the project was complete. The owners even retained three of the workers on their full time staff, benefiting from the familiarity which these employees had with the home, since they had worked to build it,” says Sanjeev. “Sustainability has a different role in India – it is not about using technology to get ratings.” The quality of natural light in the home is free of glare, with the dark cudappah providing a sense of cooling. Every room is

cut on two sides with openings, supporting easy cross ventilation and ingress of just the right amount of light. Country houses have peculiarly dark interiors, offering a respite from the sun-scorched outdoors. Strategically positioned jalis built within the brick facilitate the passage of both light and air, simultaneously creating a beautiful, understated geometry. The sunlight is also softened by pergolas. However at night, the rooms begin to glow and cast their light out onto the verandah. In the living room, the ceiling appears to levitate because of the glass between the walls and the roof, with thin metal pins being used for support. Consequently, light bounces from the ceiling in a soft glow, whether it is day or night. Additionally,

at night, the garden outside is lit and the foliage of the trees acts like a lampshade, casting light within the home. Over the dining table, two Charisma pendant lights by Louis Poulsen hold sway. The fixture emits a downward directed light, with the two opal shades distributing a small amount of light laterally, illuminating the fixture itself through a clear acrylic layer. There are very few recessed luminaires in the ceiling, further illumination being provided by the Kundalini floor lamp by Kyudo in the living room. Designed by the German design duo of Hansandfranzt and made in Italy, this stately floor lamp with a diffuser mounted on an adjustable sliding track allows for flexible lighting. It


has a glossy varnished extruded aluminium structure, and a low voltage LED strip. Energy efficient, its semi-circular profile gives it a futuristic look. In the frugally detailed bedrooms, the dimmable tubes by Osram cast a golden hue. The outdoor lamps, Sahara 2 and Sahara 4 are by Gandia Blasco, Spain. These plant pots are characterised by their rounded and organic shape and are made from fully recyclable and durable plastic, with interior lighting. Sahara was inspired by the soft and uniform shapes of the dunes in the Sahara, reinterpreting the voluminous shapes of the desert landscape. Says Sanjeev, “The phenomenon of light, celebrates architecture as life, as experience, at once as tangible and

ephemeral. At the Brick Kiln House, we needed to tame the light, adjust it through pergolas, courts, wall thicknesses, jalis, clerestories, louvres and dark floors. Each device intended to refocus and fine tune its purpose to work in tandem with the larger picture. The reflection of this light off paint, brick, plaster, stone, wood, glass, water and greenery is always special. During the monsoons, the iridescent moss picks up this light on odd afternoons and makes the edges of the kiln body luminescent! We wonder how much of it is our work, and what magic does light perform itself.” Since light has both psychological and physiological effects on people it is important to get it right. Light, after all, is the dancing partner of architecture. And of

course, shadows, with all the drama they engender, are free. www.spasmindia.com

PROJECT DETAILS Brick Kiln House Architects: Sanjeev Panjabi and Sangeeta Merchant, Principals, SPASM Architects Project Team: Sanjeev Panjabi, Sangeeta Merchant, Thomas Kariath, Mangesh Jadhav Landscape: Kunal Maniar Associates

LIGHTING SPECIFIED Louis Poulsen: L.P Charisma Kundalini: Kyudo Floor Lamp Gandia Blasco: Sahara 2, Sahara 4 outdoor lamps


project / The Cocoon, Mumbai

IRIDESCENT HUES Carving out a respite from the daily humdrum of Mumbai living, KNS Architects design an apartment to be perceived as a seamless cavernous space, relinquished in the purity of pristine white, and saturated with a playful colour changing lighting scheme.

Alan Abrahim and Rahul Pawar

In the midst of mercurial Mumbai, within the jostling of Juhu, lies a virginal white Cocoon created by the architect trio of Kanhai Gandhi, Neemesh Shah and Shresht Kashyap of KNS architects. Designed for one of their own, the national and international award winning ‘Cocoon’ is home to Neemesh, his wife Dhruti and daughter Anaya. Having to create the client brief themself, translate it into a Vastu conforming design philosophy and execute it for true representation, KNS played multiple roles within the architectural process, and enjoyed full freedom to experiment with the project. Wanting to diminish edges and corners, the architectural language made a bold move towards exotic curves that enhance the fluid communication of space. Referring to the sculpted curves as those of a mother’s womb, KNS envisioned the house as a unified entity that embraces its child and provides the comfort of an environment conducive to the total unison of mind, body and soul.

The prominent design vocabulary was derived from form finding; at moments, elaborating lines and converging them into curved surfaces, while elsewhere, compressing curved surfaces or tearing and stretching them to generate linear elements. Following the basic principle of maintaining fluid spaces that open into one another, the apartment was redesigned from a conventional four-bedroom house to an extraordinary open suite, maintaining the guest bedroom as the single enclosed space. Rendered in a cornucopia of white surfaces, the horizontality of the ceiling melts into the walls, which further translate themself onto the floor. The blanched canvas is painted with an equitable wash of natural light that streams through the large windows. The glow of the soft sunlight is complimented by a series of illuminated globes suspended like myriad moons within. Fitted with LED sources in two shades of white light, cool and warm; the globes are categorized into different circuits. They can

thus be lit for a cool white wash, a warmer ambience, or dimmed independently to create a desirable mix of both. As darkness falls, the space comes to life with a saturation of colours. Floor recessed LED washers by ACDC, placed along the windows fill the volume in hues of blue. As the blues transform into pools of purple and slowly into blushing pinks, the ambience is altered to varying shades of moods and activities. The need for dynamic lighting in the house stemmed from the idea of Chroma-therapy. An impressively tall Artemide Metacolor floor lamp in the main bedroom area holds the power to flood the space in variegated chromaticity. Choosing from an array of 25 hues catering to relaxation, work, energy, love and even meditation, the Shah’s often move the lamp to other parts of the house to add colour and change the atmosphere there. Focused spot lights from Fabbian dot the ceiling, providing concentrated reading light over the bed. The fascinating O-Space



project / The Cocoon, Mumbai


lamp by Foscarini hangs low on one side as a floating sculpture in the reading area. With illuminated coves restricted to areas below eye level, the entire volume is filled with surreal and homogenous illumination, keeping away from jarring light sources and definitive hot spots. The Egg room further exemplifies the use of curves, as the entire volume seems to be scooped out in one intentional move. While the floor arches onto the wall, a series of customized LED fixtures ranging progressively from 1” dia. to 6” dia. are recessed in a spiraling pattern. Each light is fitted with a combination of independently controlled white and orange LED panels. These can be illuminated to bathe the egg in cool white or a subdued orange light. The play of light and colour accommodates the varied use of the space as a lounge, play room or recreational area. While the house seems to be a haven for the young fashionable couple, their daughter gets her own art corner, where she can scribble on the walls and draw on the floor, the perfect canvas for budding talent. The white coldness of the architecture is softened with varied light effects in a range of warm whites, yellows, oranges to even brighter hues of pinks, purples, blues and greens; coloured accessories and interesting décor. While the living room sees Flos’ Arco arching over the space, an Artemide Pipe suspension lamp gives concerted light to a reader in the study corner. The transparency between spaces, fluidity of movement and vision, intermingling of volumes and overlapping functions without distinct boundaries, is what sets this home apart. The flexibility of enclosing open spaces, without disturbing their homogeneity and seamlessness is yet another value that has been addressed. While the architecture defines the form, light, colour and coloured light breathes soul into it. www.knsarchitects.com

PROJECT DETAILS The Cocoon, Juhu, Mumbai Client: Neemesh Shah, Dhruti Shah & Anaya Shah Architects: KNS Architects Pvt. Ltd. Project Team: Kanhai Gandhi, Neemesh Shah, Shresht Kashyap, Sachin Shah and Sapna Gundecha

LIGHTING SPECIFIED Flos: Arco floor lamp, designed by Achille Castigliioni Artemide: Metacolor floor lamp, designed by Ernesto Gismondi Artemide: Pipe ceiling mounted lamp, designed by Herzog and De Meuron Foscarini: O-Space suspension lamp, designed by Luca Nichetto and Giampetro Gai ACDC: Floor recessed colour changing LED washers Fabbian: Ceiling mounted focus lights


project / Fort House, Hyderabad, Telangana

FORTIFIED HOME sP+a has drawn their vocabulary from the impregnable Golconda Fort to create this home in Hyderabad. Relying heavily on natural light during the day, its sense of drama gets heightened when illuminated after sunset, discovers Devyani Jayakar.

Pics: Edmund Sumner



project / Fort House, Hyderabad, Telangana

Throughout history, forts have symbolised protection from outside forces and have been a measure of strength. Within their bastions, were written the sagas of dynasties. The imposing Golconda fort from which Sameep Padora of sP+a has drawn inspiration, has three lines of massive fortification walls one within the other, rising to a height of over 12 metres. The primary brief from the clients was a desire to build a house that was to be their ‘fortress from the cacophony of the world outside’ while creating a sizable space to be used frequently for entertaining friends and guests. The layout of the project attempts to balance a need for privacy and protection from the outside, while developing layered and tiered open spaces for social engagement. Referencing the Golconda fort, capital of the medieval sultanate of the Qutb


Shahi dynasty, which sits 15 kms from the site, was a natural extension of this thought process. The boundary wall of the house becomes part of the three parallel limestone clad walls which ascend in height as they gain distance from the street, scaling the house down to human proportions. The structure of the house is designed as three parallel walls of sheer concrete. Coupled with pre-tensioned flat slabs, a seamless section is provided, that structures the void/court and its massive spans. The benefit of this structural design system is the freedom of an open section by avoiding columns and beams, to allow for natural light to enter the farthest recesses of the building quite easily. Though heavy in appearance externally, internally the three walls allow abundant natural light to percolate through large

openings and skylights creating a sense of lightness within. The need for privacy and climatic sheltering on the south side street (to mitigate the harsh southern sun) creates a largely impervious facade. This solidity is completely obliterated once inside the house by sectional overlapping and a linked multilevel hybrid courtyard that is both internal and external. This becomes the platform for the massive entertainment space required by the client. This void/ court cuts through the sectional width of the house, becoming a connect for the independently accessible strands of private (family) and public (work and entertainment) spaces that intersect in the physical centre of the house. The courtyard is spread over three levels, the mid-level also accommodating a pool. The ground floor houses the living, dining

and office spaces, while the floor above has an entertainment area. As staircases progress from public to private spaces, their wide, shallow structure changes, becoming narrower and steeper, to indicate a progression similar to that of a Diwan-e Aam leading to a Diwan-e-Khaas. The parallel walls which define the design resulted in an extremely high and narrow passage which is transformed into a light well, literally, by the skylight washing the pristine white walls. The design hinged on the use of skylights. At night, the LED uplight and downlights cast dramatically different pools of light on the same walls. Even the bathrooms have strips of skylights which provide natural cove lighting through the day, while the lights concealed within provide a similar kind of lighting during the night. Design-wise, the three major south (road


project / Fort House, Hyderabad, Telangana

facing) walls are clad with a vanilla kota stone, specially cut to size so that there are no small slivers to negotiate the corners. Thus, a visual uniformity has been maintained and the expanse is accentuated at night by the Linear Flex LED strip lights that are fixed just below the wall capping. These outdoor lights by Osram consist of a flexible LED module with self-adhesive backing, which can be installed in straight runs or curves. The silicone-encapsulated variants are ideal for use in outdoor applications. The high performance filament used implies exceptionally good flexibility, as well as UV and salt spray

resistance. The components encased in white silicone are elegantly designed, making them ideally suited for visible installation. Other outdoor lights are by Simes, Italy, a company dedicated to the design and production of outdoor lighting fittings for architecture, landscape, private contexts and urban spaces. Says Sameep, “Working within our tropical climatic context, our interests lie in the way that natural light might be articulated and controlled within an interior. We were conscious of what natural light might do right from the beginning of the project. At the entrance, the quality of light entering

through the skylight was meant to scale up to the vertical volume of the hallway. At other more intimate spaces, the natural light is diffused and calm. So the control of light was really about the qualitative description of space.� Internally, most spaces are finished in white and the ambient lighting is recessed and understated to allow the signature light fixtures in each room to stand out. The lighting design intent was to highlight the difference between the exterior and interior spaces through a controlled ingress of natural light into the spaces. Pockets and pools of light add layers, creating a sense


of drama and anticipation. The beautiful detail of natural light in the day is well complemented by artificial lighting in the night time, using a mixture of different lighting techniques. Bespoke luminaires add to the ambience. “The lighting strategy was to highlight the stoic and impervious nature of the three parallel walls from the outside. In contrast the interior attempts to be light, lacking in the weight that the exterior seems to convey. In the day, the walls of the house turn into a canvas with the heavy foliage of the trees casting a filigree of shadow onto the vanilla kota stone walls,” says Sameep.

The walls lights are by Deltalight, Belgium, known for integrating LED in design objects. The decorative lights are by Artemide, Milan, creators of some of the most iconic lights designed in the last 50 years. Coming full circle, the syntax of a fort, illuminated by a practised intent, can only create sheer magic. As it has in this house. With regards to the exterior, sP+a has reconciled the seemingly irreconcilable. Enticing at the same time that it intimidates, this fault line has been straddled with aplomb. www.sp-arc.net

PROJECT DETAILS Fort House, Hyderabad, Telangana Client: Aparna & Venkatesh Roddam Structural Consultant: Facet Design Team: Viresh Mhatre, Harsha Nalwaya, Aanoshka Choksi, Mythili Shetty

LIGHTING SPECIFIED Deltalight: Wall lights Simes: Wall lights Artemide: Decorative Lights Osram: Linear Flex LED Bespoke luminaires produced in Asia. Project Partners - Uber Project Lighting, Thea Light Works


project / Beacon House, Singapore

Pics: Aaron Pocock

Guiding Light A house with a spectacular view of the sea in Sentosa, Singapore, is drenched in natural light during the day and stands like a glowing beacon after sunset, with its extensive glass frontage. Devyani Jayakar takes a look at the design elements of this light-infused space designed by WOW Architects. With an unobstructed view of the ocean, it is no wonder that the clients, a welltravelled couple, instantly fell in love with the site, uniquely located at the southernmost tip of the entire Sentosa Cove development, in Singapore’s main island. A quirky addition that came with the property, was an imposing red Buoy in the middle of the sea, which was a beacon and nautical marker, so that ships coming in on the Sisters Fairway could navigate through the Buran Channel. This red buoy flashes

every two seconds and is visible from three nautical miles. The Sisters Fairway is also alive with activity; on any given day, countless barges, boats and ocean liners glide slowly over the horizon. For architects Wong Chiu Man and Maria Warner Wong of WOW, it was a foregone conclusion that the house would be inspired by marine life-forms, maritime elements, the sweeping view of the sea and the close proximity to the ocean front. For the architects, it is important to create

what makes sense for a particular place and time, and program and client. That’s what makes the design connect. The client is the visionary founder of a global maritime fuel business with a fascination for ocean-front properties around the world. Settling in Singapore with his wife and two daughters, he was particularly drawn to Sentosa’s dynamic views of the shipping corridors and mega sea vessels on the horizon juxtaposed with the silhouette of the Sisters’ Islands to


the south and the Indonesian archipelago beyond. He requested a house that celebrated the ocean views and uniqueness of Sentosa, relative to the other ports, which he also called home. “The design had to maximise the ocean views in every part of the house and devote no resources to a basement or inwardly focused spaces,” says Maria. Of course, controlling the glare of light from the huge expanse in front of the house was a concern, without compromising on the view. Key references that guided the design of the house as a beacon celebrating its views, place and time, were the massive stone embankments, industrial elements like port cranes and barges, and the vulnerable marine life that struggles to survive beneath all the industry and trade. Most important was the red buoy in the ocean just in front of the site,

which signified the southernmost point of Singapore. The journey through the house begins with the entry at the driveway, where the visitor is greeted with an articulated stone wall over which an Onyx Lantern hovers. The north façade facing the road is constructed of a stainless steel frame curtainwall with 5 mm onyx laminated with tempered glass. Lit from within, its paper-like transparency is designed to glow like a lantern at night. Just as the red buoy in the ocean flashes its light and directs traffic, the amber onyx wall radiates in anticipation of visitors, marking the location of the house on the street. Positioned to face the west, the entray doorway gives the illusion that there are no openings on the façade of the main entrance. On walking in, meeting with a breathtaking panoramic view of the ocean is totally unexpected. “This is conceived as

a framed portal cantilevered over an open living and dining area,” says Wong. As the curtainwall frame extends around the corners, an aluminium trellis screen wraps around the frame, screening east and west-facing walls from the intense heat of the sun as well as ensuring privacy from neighbours. While it provides a second insulating layer to the bedrooms on the upper floor, it offers privacy to the garden below. Inspired by the baleen of a whale, resembling a fine-toothed comb, the screen casts a dynamic shadow, which moves slowly through the day creating myriad linear patterns of shade on the floor. The screen stands in concert with the masonry wall and double-glazed mirror glass curtainwall to minimise heat-gain during the day and reduce dependence on air-conditioning through natural cross ventilation. The landscape design is a key conceptual


project / Beacon House, Singapore

driver of the project. Conceived as the principal element of the ground floor, into which the cool, shady living and dining areas are set, the landscape was perceived as part of the continuous green belt that weaves through the surrounding houses of Sentosa Cove. The ground floor or the base of the massing is planned as an open concept with minimal walls in the main living / dining / kitchen area, with the exception of one minimalist cabinet which separates the zones. Modularity of spaces is achieved with the introduction of sliding panels that

segragate the spaces. The kitchen and dining room can be combined to maximise family interaction, and to allow the kitchen to remain connected to the pool and the ocean view. It was planned to be an outdoor / indoor kitchen with two glass doors that extends the cooking experience to the outside. Large transparent facades allow for uninterrupted natural light to beam into the space, filling the volume with a gentle even glow. As night falls, the dining areas come alight with a a row of naked bulbs that are suspended from the ceiling and encased in a

complex mesh of sculptural entanglement. The suspension lamp is an artowrk in itself, symbolising a certain order within the chaos of its randomly interwoven form. Downlights recessed into the ceiling add to the ambient light levels. While certain architectural elements are subtly highlighted, the main focus remains to accentuate points of interesting congregation, for people as well as collectibles. Artefacts are dislayed meticulously on a series of shelves, independently lit with deliberate consideration. The designers have taken care to


accommodate variegated functions and at the smallest scales in the house. Ventilation, light and views play critial roles in the planning and positioning of spaces. The entire ground floor has the ocean breeze flow through it, aided by the use of aluminium louvers all around the front. Aluminium has been used extensively due the high recyclable attributes of the material. Every room in the house enjoys a direct relationship with the oceanfront. Oversized glass panels with minimal framing is used to allow maximum vistas to the outside,

and bring in abundant natural light. The lighting scheme through the house traverses the idea of permitting an even wash of daylight to permeate the space. Pale coloured interior finishes and smooth reflective surfaces assist in the diffusion of this bright illumination. Architectural elements such as the stairwell appears to take on the role of a light-well, welcoming an in-pour of light from above. Clad in bleached American white oak, the stairs take you up to the second floor where a central corridor branches to the bedrooms and gym. The corridor is naturally

ventilated with a sky garden which brings in daylight and with its double height volume, creates an interesting interaction zone between levels. Facing the ocean with unhindered views, the bedrooms are awash with natural light in the day. As the sun goes down, downlights recessed in the ceiling start to highlight the study table tucked behind the bed. Two sets of intricately carved screens are sandwiched with light to appear as backlit from either side of the room. As you ascend further up the stairs to the attic, you are again greeted with the most


project / Beacon House, Singapore

marvelous view of the ocean. The owners requested an office in the attic for both husband and wife to be able to work from home and make contact with their offices in San Francisco and Rotterdam. Offering a 180 degree view of the ocean, the attic would be the ‘Bridge’ from which their business would be navigated around the globe. Embraced by a cantilevered terrace overlooking the ocean gives a sensory experience of being on the deck of a great ocean liner. Protected with an overhanging trellis,

the length of the room is devoid of direct sunlight. The linear projections imprint their pattern on the floor as the sun moves across the sky. In the deeper parts of the volume where natural light is not able to percolate from windows, skylights offer an influx. The attic space also doubles up as a lounge area. As the family settles in and the sun sets in the horizon, the curved roof of the attic is silently lit from one end. A strip of linear luminaires concealed above the glazing, grazes the veneered

ceiling and casts a soft glow further away from the periphery. A series of downlights recessed into the farther end of the space, supplement the illumination in a downward direction. Capped with a curving wave inspired by the sinewy fins of a stingray, the roof vaults over the attic and curves down to ensure the street facing side of the house is clearly perceived as a two-storey structure. Beneath the arching roof, services and amenities are tucked out of sight and naturally ventilated. The edges



and gentle bends lend to its weightless appearance. The south-facing façade exposed to the unforgiving Singapore sun, is designed with reflective Low E Glass, to keep the house cool and also to ensure resistance to gale force winds. “A reflective surface on the bedroom level adds privacy by preventing views inwards when the curtains are opened. In all instances of glass usage, special attention was paid to its performance data to ensure absence of the greenhouse effect,” says Maria.

The entire house emphasises linearity in its structure, reflected in the shadows and patterns it casts during the day. However, at night, when it is lit from within, it is like a siren, its glass box visible from afar on the sea, beckoning and inviting. It also becomes a landmark, its street-facing onyx façade glowing, commanding attention and establishing its location on land, just as the buoy performs the same function at sea. The metaphor comes full circle. www.wow.sg

PROJECT DETAILS Beacon House, Singapore Architects: WOW Architects | Warner Wong Design Project Team: Maria Warner Wong, Nicky Shanmugam, Eugine Lim

LIGHTING SPECIFIED FLOS, ERCO, M-lite, Artemide, Wever & Ducre


project / Villa on ECR, chennai

TRAVERSING ELEMENTS Intersecting planes with volumes and splitting facades to spectacular vistas, Shripal and Venkat Architects design a sprawling villa as a culmination of Earth, Sky, Water and Energy. Conceptualising the lighting scheme, Fifth Season breathes a refreshing warmth into the sinuous spaces. The Beach Villa located at the lip of the Bay of Bengal, off the Coromandel Coast in Chennai, is an exquisite showcase of striking a balance between nature and design by Shripal and Venkat architects. The house evolved from the desire to create a place where the five elements are synchronized to generate an ambience of ‘high prana’. “A simple mantra of less is more and less is good has diligently been followed in all aspects of the project - architecture, landscape and interiors. Welcoming abundant light and air from the large east and west openings and uninterrupted views of the ocean and sky, it is a place where the Earth, Sky and Water are in perfect harmony,” elucidates Shripal. Meticulously responding to the challenging principles of Vastu, the structure was conceived as a pavilion nestled between the east and west halves of the sprawling oneacre site. A central axis slices through the

property, with rooms placed on either side to maximise the land and sea breeze. The central axis is further extended as a serene timber deck delicately cantilevers over the pool, overlooking the blue seawaters beyond. Transparent facades framed by a striking combination of post-tensioned slabs and sheer walls, facilitates the infiltration of abundant daylight through the house. Cantilevered floating planes play the role of terraces and family break out spaces, but also importantly, as deep overhangs that protect the interior spaces from direct sunlight. Articulating the architectural language of graceful surfaces and slender profiles, the interior is characterized by a seamless flow of spaces with selected focal points and feature planes. Consequently, there is an even and diffused light quality, punctuated with brighter highlights. Explaining the intention to keep the volumes

bathed in warm illumination, creating an intimate and cozy ambience, Shripal further adds, “We were constantly endeavoring to strike the right balance to achieve a ‘well lit’ house, but with a collection of spaces that were illuminated to the level that was just needed and not overdone.” SVA was sensitive to the idea of light and incorporated it as a design element from the initial stages of the project itself. Working with lighting design consultant, Venkatesh K of Fifth Season, they envisioned the sheer walls as crucial planes, accentuated with a wash of light; and ceiling soffits of the outdoor terraces as critical junctures, highlighted with focused light. The aim was to create a series of spatial experiences as one moved around the house. Even the choice of interior cladding material was experimented with and decided upon after numerous options were explored and tests conducted to arrive


Pics: www.miastudio.in


project / Villa on ECR, chennai

at optimum reflectivity and texture. The architectural design intent was purposefully translated into the lighting design scheme, as Shripal explains, “We did this by understanding and applying the simple concept that ‘spaces make places’. Light in architecture is all-powerful, and has to be sensitively handled. The spaces are totally different in daylight and in artificial light, and that difference brings out the drama of discovering an interesting architectural journey.” The house is built on a 4-meter high landfill in order to get a better and longer view of the sea that is faces. As a result, not a

single room of the house requires artificial light during the day. The bright day lit indoors is subsequently rendered in muted glows after dark, mimicking the warmth of the sunlight, but providing ample contrast to the elements around. While the rooms on the lower floor are intrinsically connected with one another, spaces flowing freely between volumes; it became imperative to enhance the idea of continuity, but also differentiate one space from another. Therefore, architectural lighting tools such as coves cut into the ceiling and running along the length of the shear walls, graze the vertical surfaces

to form linkages between rooms; while decorative elements like intricately detailed suspensions or well crafted floor lamps help establish a uniqueness in each room. The living and dining areas are evenly lit with cove and ceiling recessed downlights, addressing ambient illumination. On the other hand, independent rooms represent the personalities of their occupants through varying levels and quality of light, as well as employing a more eclectic palate of lighting products. An amalgamation of direct, focus and recessed fittings, along with lighting coves allow the designer to accentuate the diverse


material selection in the house. Textures of the hardwood panels are contrasted with veneer accents. Ultra-thin ceramic sheets are placed beside a medley of neutral, white and warm coloured soft furnishings. Each element is illuminated by a bespoke system, prudently formulated for precise function, and cautiously placed to ensure a significant perception of light in space, without revealing the source of the light. Automated controls of select areas in the house offer a reasonable degree of flexibility. However, on the other side, the clients insisted on not installing a convoluted control system, but rather having a complex

network of circuits that catered to their desired flexibility of functioning. At the end of the day, it is the opinion of the inhabitant that counts. And in this particular house, Shripal seems to be happy with the received feedback, “The client is delighted with the end result, and the quality of the abundant light and ventilation that has been achieved. The fact that the lights are switched on only at dusk and that the aircon is rarely used, speaks well of the light quality and the kind of air that is infused in the home.” www.sva.net.in www.fifthseason.co.nz

PROJECT DETAILS Villa on ECR, Chennai Architects: SVA Shripal and Venkat Architects Lighting Designer: Concept design by Venkatesh K, Fifth Season Landscape Design: One Landscape, HK

LIGHTING SPECIFIED Flos: downlights Simes: Movit uplighters. Floor washers on external ramp Philips: Downlights, Led strip lights. Kinglong: Decorative ceiling feature lights. Mingji: Dining “ Orb” feature light. Ligman: Landscape and outdoor fixtures


project / K Lagoon, Alibaug, maharashtra

Of Light and Lagoons Using water as a basic architectural design element, this bungalow in Alibaug by Malik Architecture is replete with pools and Hamams. Devyani Jayakar takes us through the space, uncovering the many ways in which light shimmers, gleams, sparkles and bounces off liquid surfaces at different times of the day, providing ephemeral, ever changing vistas.

Pics: Bharath Ramamrutham and Sergio Ghetti

A long, narrow plot with many trees doesn’t sound like a great architectural playground. Less so, when you are ideologically and ethically committed to not cutting down any of those trees. “The site informed our design,” says Kamal Malik of Malik Architecture. “We decided to build around the trees, on the bald parts of the plot; but since the client required a large house, we had to fragment it. You don’t see one large structure here.” Employing traditional ‘Konkan’ construction techniques albeit interpreted in a modern composition, the four main materials were stone, wood, clay tile and locally produced fly-ash blocks. The client came from a traditional family, where three generations lived together. Moreover, provision had to be made to accommodate large numbers of guests.

“In this set up, the division of public and private spaces was quite important,” says Kamal. A hierarchy of traditional Indian spaces from the formal to the private (through a series of courts) has been developed. Deeply shaded verandas and semi-outdoor areas repeated throughout the design balance indoor and outdoor spaces. The approach to the house is dappled with light, as one walks under the canopy of dense foliage, with light filtering through the leaves. On reaching the house, a similar effect continues as one passes through the many pergola walkways. Further on, in the interiors, the play of shadows continues as the light percolates through a slatted building skin or louvered screens and doors. “Based on our experience of working in this region we used ‘cavity’ block walls

and stone for the load bearing elements. Wood and clay tile was used for the superstructure. Our real challenge was to use traditional materials and techniques, and yet evolve a contemporary syntax,” says Kamal. Achieved by introducing a composite structural technology using thin steel plates sandwiched with wood planks, this opened up a fascinating window of achieving larger spans (yet using slender sections of wood). Flexibility in planning spaces and the ability to pick up roof loads through numerous iterations and articulations was made possible. Therefore, considerable usage of wood has also been reduced. In one area, the sloping roof dips dramatically to the ground. The complex network of wooden trusses echoes the branching of the trees outside, while the


columns simulate the trunks. Several spots on the site offer vistas, which never end, drawing the eye to the horizon. The home unravels as an enigma, a mystery to be explored at a leisurely pace. This style of architecture is juxtaposed with a more contemporary architectural language. Relatively recent inductions into modern lifestyle like the gym, spa and the den / home theatre are segregated and separated, using contemporary forms, articulated in natural materials like zinc and aluminium sections. These structures are perched on either side of the water body, which dominates the northern face of the site. If a structure appears to veer precariously off plumb, you know that it is modern technology and materials that have made it possible.

Wanting to keep an intrinsic connection with the exterior and outdoors, the building is wrapped in transparency. With regard to lighting during the day, “We didn’t have to do much,” says Kamal. Till the sun sets no artificial light is used at all. During the day, the light through the foliage of the trees is diffused, occasionally dancing with the breeze. The skylights are located where required in the house, in the den, gym and Hamam to give sharp, contrasting illumination. The quality of light used in these spaces is crisp, whereas in the bedrooms and barbecue area, it is soft and diffused. Glass Mangalore tiles replace the usual tiles intermittently in the bedroom ceilings, creating pockets of brightness through these small skylights. Enclosed in large

panes of glass on the periphery, the rooms welcome the abundance of natural light in. The intentional use of glass allows some light to filter into external spaces such as verandahs, walkways and landscape areas attached to particular rooms. A window at the floor level, evocative of Corbusier’s windows in Ronchamps, pulls light into the room. In an inversion of conventional architecture, there are glass walls on the periphery, while solid walls divide spaces internally. Walls generally don’t reach the ceiling, the upper part being made of glass. Where one wall of a bedroom is glass, the only opaque element is the door itself, in an intriguing reversal of the norm. “However, the privacy of any space is not compromised,” says Kamal. Some areas have a double skin, with inner


project / K Lagoon, Alibaug, maharashtra

walls being made of glass and wooden slats on the outside, to control the percolation of light. Throughout the project, there are different degrees and layers of transparency, both visual and physical. Varying degrees of light – direct sunlight as well as light filtered through screens and glass tiles, permeates this home. Indirect light in the spaces with roof overhangs render spaces in uniform shade. When the clients mentioned Moorish architecture and subterranean Hamams as part of their wish list, Kamal got a clear indication of their aesthetic leanings. By now, it was quite apparent that water would be a major part of the design. Consequently, its presence is pervasive, being seen as well as heard from almost any place on the property. Multiple water bodies

and channels, connected with each other, negotiate the site, cooling the space as well as offering visual benefits. The water surfaces in this project silently aid and abet the drama of lighting, unfolding it in a manner that is in constant flux. “The way light bounces off water and highlights textured surfaces is quite magical. The light is the protagonist and the architecture facilitates visual transitions,� says Kamal. Since Roman times, water has been a lifeenhancing adjunct to buildings intensifying their meaning and impact. Emperor Nero featured water as an architectural element, making him one of the pioneers in relating water to architecture on a grand scale. Grand Roman buildings were associated with water, still or rushing, unlike the

work of the Greeks, who lacked the engineering skills to command the element as an adjunct to architecture. Water as an architectural element experienced a revival of sorts during the Italian Renaissance after it was almost forgotten following the collapse of the Western Empire. After almost 1000 years, the sensibility continued in the Muslim world where aquatic engineering skills were developed and enhanced to make splendid gardens from the Alhambra to the Taj Mahal. Water could be a demonstration of the cosmic power of the Sun King, or the age-old celebration of the element as fun. In the hands of an architect with a command over hydraulics, water can jet, spray, squirt, chatter and cascade in innumerable ways, both apparently natural


and clearly artificial. Familiar and simple, yet enchantingly complex, water can be endlessly appealing. In this project, a straight flight of stairs inspired by the step wells of India leads to the sought-after subterranean Hamam, which thus echoes two distinct architectural features. The concept has been derived from step wells as well as Turkish baths. Over the slab of the Hamam, a reflecting water body mirrors the pool below, also providing thermal insulation. A slit in the slab that runs along the edge of the circular roof allows natural daylight to enter the Hamam and reflect in the pool. This has the surreal effect of making the huge mass of the concrete slab appear to be a weightless hovering body. Like an inversion of an oculus, it enables a sliver of light to rotate

through the ring at the periphery of the ‘floating’ slab. Reminiscent of the sun being eclipsed by the moon, daylight is seen only as a halo around the concrete disc. “Light plays such an important role here, that it was planned from the very beginning,” says Kamal. In several places, the structure itself is the final finish. The circular walls in raw concrete have been left unclad. In keeping with the social context in which both Hamams and step wells existed historically as places of rest and relaxation, this is where the family comes together. Incorporating a bar and a dining area ensures that wining and dining adds to the pleasure. As dusk falls, lights levels dip across the property, and are intentionally

maintained to be dim. Low emission LED fixtures have been used for lighting the site, which allows minimum electrical consumption, yet creates moments of surprise and intrigue. The rim of the pool is dramatically lit by underwater lights from Zodiac; Australia. While water in the pool is lit, the rest is left dark. Similarly, the landscape is kept dimly lit, emphasising only critical junctures. A clever use of illuminated objects placed strategically adds to the ambient glow and also signifies important nodes. Outdoor lights are by Wibre and BEGA. “Only the roof has repetitive rhythmic lighting, to highlight its architecture,” says Kamal. Using luminaires by KKDC, the roof is gently grazed from one end, highlighting the intricate network of trusses that


project / K Lagoon, Alibaug, maharashtra

delicately hold the tiled roof above. The lighting scheme was designed to bring out the typology of the architectural elements that form the design. Lighting emphasises the trusses, roofs, exposed concrete and all other important elements used in the design. The volume is rendered in a calm and gentle ambient light. Intentionally maintaining low levels of illumination, the house seems to glow in an ethereal subtlety. Light is used to contrast texture with smoothness and even delicately defines function. When viewed at night, the contemporary tilted structure of the gym is highlighted by a white light within,

whereas spaces with the wooden roof have a warmer glow. The interior is peppered with a careful selection of decorative accessories. The clients have chosen floor lamps and tables lamps by Flos, ceiling and pendant lights by Artemide, while wall and surface mounted lights have been sourced from Phillips, XAL. “The rest of the lighting is erratic, sometimes directed upwards, sometimes downwards. We didn’t work with a lighting designer, but carefully studied all the requirements ourselves, so that we got the degree, colour and distance of throw of the lights correctly,� says Kamal.

Water, light, volume and structure are all intimately related. Whenever architects or designers include water in their compositions, they can plunge into a treasure trove of physical characteristics, legends, and allegories to enhance their designs. Our associations with water today have been shaped by our ancestors, so that the lapse of centuries adds to the symbolism, and the collected wisdom survives the tides of millennia. This home creates an experience of walking through the woods, with different experiences of light in its myriad manifestations - reflected in the water


bodies, creating patterns of light and shadow, dappled through the trees, sharply etched from its skylights, dramatically grazing roofs at night and emphasising the structure, creating a surreal atmosphere in the subterranean Hamam and diminishing boundaries as it floods in through the zero visual barrier of glass walls. Natural, engineered, filtered, sharp and diffused, it is all there. There is an interesting composition of contrasts in the house – achieving privacy in transparency and a smooth transition between traditional and modern styles as well as a combination of warm and cool

light. Today, too many urban planners trying to combine architecture, light and water fail to go beyond the merely visual. If we have lost much of the virtuosity in the use of water which Roman and Renaissance designers commanded so comprehensively, it is time to revisit it, appears to be the mantra of Malik Architecture in this project. Texturally and structurally complex, this house is deceptively simple. Many layers of light have been deployed to create a subliminal experience, which is absorbed rather than perceived. www.malikarchitecture.com

PROJECT DETAILS K Lagoon, Alibaug Architect: Malik Architecture Project Team: Amit Modi, Sunil Gavane, Rucha Pimprikar

LIGHTING SPECIFIED Wibre: Landscape lights BEGA: Landscape lights Zodiac: Pool lights KKDC: Roof grazers Flos: Table Lamps and Floor Lamps Artemide: Ceiling / Pendant Lights Phillips, XAL: Wall and surface mounted lights


project / Panchshil reality

BRANDING THE FUTURE HOME As the Indian real estate market prospers into maturity, and the growing audience refines its taste, there is an increasing demand for branded ‘designer’ labels in the residential sector. Mrinalini Ghadiok talks to Panchshil’s Sagar Chordia, Mark Davison, Donald Trump Jr., and Matteo Nunziati to understand the idea of international homes in India. As the Indian real estate market prospers into maturity, and the growing audience refines its taste, there seems to be an increasing demand for branded ‘designer’ labels in the residential sector. The young and affluent Indian today is looking for high end, international style in their home, and developers are ceasing the day by creating luxurious residential communities that are exemplars of international tastes and design sensibilities. Celebrated international designers and design houses such as Philippe Starck, John Hitchcox, Mark Davison, Kelly Hoppen, Matteo Nunziati, Trump and Yoo are being initiated into the Indian realm for residential projects that are laden with glamour, panache and the latest trends. Indian developers are opening the market

to a larger design discerning audience that wants their homes to be associated with prestigious appellation and be synonymous with luxury. Panchshil Realty is a young real estate development group that has tall ambitions and grand plans for the city of Pune. Sagar Chordia, responsible for the residential vertical of Panchshil, draws an interesting hypothesis on the intrinsic relationship between Pune and Mumbai, and how the former is the ideal opportunity for large designer and branded residential projects. Claiming Mumbai to be the big bustling city, he highlights that it is congested and lacks the spatial expanse and finesse that Pune has to offer. Besides providing the best facilities to his clients, Panchshil offers large apartments

with sizeable open spaces, giving Mumbaikars “the avenue of luxury close enough to Mumbai, yet away from it.” Sagar emphasises on the international standards and quality in these branded projects. With meticulously designed buildings, impeccable interiors, unmatched furnishings and consummate décor, Panchshil offers the best in their apartments, leaving no stone unturned. Sagar explains, “Not many can afford someone like Philippe Starck or Kelly Hoppen to design the interiors of their home. However, here we get 100 homes designed, and give our clients the chance to own one of them.” Yoo inspired by Philippe Starck Having chanced upon a Philippe Starck project in Tel-Aviv, Sagar was so smitten


Yoo Pune

by the design of the space that he pursued Starck’s office for months before he could persuade them that the 17-acre Panchshil site in Pune was the perfect canvas for them to launch in India. On visiting Pune, designer Mark Davison was immediately convinced that the site covered with a thicket of 100-year-old trees, was better than any other in a big metropolis such as Delhi or Mumbai. Soon, Philippe Starck, John Hitchcox and Mark Davison were on the drawing board for the first Yoo project in India, to be developed by Panchshil. Conceptualised as a five star sanctuary in the heart of the city, the project combines world-class design with a prestigious range of amenities nestled around a lush historic rainforest. The 228 apartments ranging

from 5,100 - 6,900 sq. ft. of the charming development enjoy the best of both worlds, the wealth and serenity of nature and every conceivable modern comfort. Yoo Pune inspired by Philippe Starck is best described by them as, “Bold and minimal, creative and classic; an ode to international living.” Celebrating the forest around which the six towers are grouped, each apartment is designed in response to its immediate context. While the towers are still under construction, the show suite illustrates the design ideology for the upcoming homes. The uncluttered interiors are largely portrayed in whites and softer hues, with spurts of bold colour accessories and accents. The entrance foyer is bedecked with a series of customized suspended

lights, alternating between the staid and serious and the ornate chandelier. The adjoining living and family room is enclosed on one side by an expansive glass front, which graciously welcomes natural light into the blanched interior. The delicate white drapes that politely hang before the window make the façade appear as a glowing light box. The room is encased on the other side with similar moveable sheers, suspended from a neat niche that runs the length of the ceiling. LED strip lights in 3000K, recessed in the ceiling cove grazes the drapes in a fine white light, rendering the surface akin to the window-wall. Thus, the volume seems filled with a bright uniform glow from either side, which is complimented by decorative lamps that are strategically placed to


project / Panchshil reality

provide accents on focal areas. The Rosy Angelis floor lamp by FLOS resides in one corner, and the other is bedecked by the classic Fortuny by Mariano Fortuny. Smaller table lamps between the couches create a more intimate setting, while the desk is adorned with a pristine pendant that hovers close above. The terrace deck is again open to welcome an abundance of natural light, which is diffused by its deep overhangs and louvered shutters. An array of Romeo Soft lamps suspended precisely over the table, bathes the space in pools of warm light. A series of candles on the table and in various other corners can be lit to add to the calm and relaxed ambience. The dining area is a more casual and fun space, which can easily turn to classic sophistication. A luxuriant crystal chandelier hangs from the centre of a traditional floral motif painted on the ceiling stamped with a quirky set of oversized slippers. On the other hand, intricate candelabras placed on the table, and coordinated wall lights

add a flair of drama to the space. The open kitchen is lit with a series of ceiling recessed downlights that allow for focused illumination of tasks. Moving into the private areas, the lighting levels become more intimate. While the master bedroom is lit with a big customized suspension, low hanging pendants and table lamps facilitate a cozy and cherished environment. The extensive use of decorative lamps from various brands, adds a layer of theatrics and style to the apartment. The space is a product of Philippe Starck and his design sensibilities, and at the same time, it is the myriad products designed by him for various brands, that when curated into this fascinating space, creates an abode of designed international luxury with an adapted Indian context. “We take the best ideas of design and construction in each global location, paying careful attention with respect to local traditions, crafts and customs, though not as a slave to these but where they can add

to our own strange blend of design ideas and creativity,” says Mark Davison. The Trump Towers Inviting the Trump Organisation to India, Sagar was able to add another feather to his cap of internationally branded residence in the country. Meanwhile, Donald Trump Junior is also looking forward to the completion of the two striking glass-clad structures rising 23 storeys each, and offering 44 residences. Don Jr. says, “Pune’s ever growing prosperity and flourishing cultural distinction make it the perfect location for the discerning Trump lifestyle to take root in India. We are incredibly proud of Trump Towers and excited about our arrival into Pune. The property is magnificent and will be the crown-jewel of Pune’s skyline, and will change the way that luxury is viewed.” Italian designer Matteo Nunziati was entrusted to design all interior areas of the entire Trump Tower complex. They imagined these spaces in a highly contemporary style, sophisticated and essential, and warm at the same time.



project / Panchshil reality

The grand lobby is characterized by 4m tall columns of varying widths that are coated in Silk Georgette marble. Grazed in a bright white light from above and below, the columns negate their solidity and appear to be floating in space. Coves running along the periphery of the ceiling house concealed strip lights, while light cuts of various lengths are drawn across the ceiling surface. The gentle glow that fills the volume renders the lobby inviting and comfortable for guests. With 360-degree views of the city, the 6100 sq. ft. apartments are also finished in Silk Georgette marble, laid to mimic a parquetflooring pattern. The living room overlooks the city below through large panes of glass, which also permit natural light to permeate the space in the day. An inverted cove that encircles the ceiling houses concealed strip lights that emit a warm glow and wash the abutting walls. A series of trimless round spots by Lucent add another layer of more focused illumination around specific nodes. Classic glamour melds with a contemporary aesthetic for a polished tableau of graceful charm - perfectly refreshing and relaxing. To further the calm atmosphere, an enclosed terrace on one end glows like a light box. With glass facades draped in sheer curtains, the volume is filled with an ethereal glow of natural light. On the other hand, the dining area is lit subtly with soft cove lighting that creates a gentle ambience, and a dramatic chandelier that hangs above the table, drawing the eye up towards the sculptural piece. Light has been used as a design tool to accentuate important junctures and highlight architectural elements. The corridor is punctuated with an eye-catching table and glassware, and light is used to create an


interesting backdrop, while highlighting the furniture with a directional spot. Decorative lamps have been sourced from brands like Fontanaarte, Flos, La Murrina and Delightful to add to the appeal of the space. The bedroom spaces are witness to layers of lighting. While the ceiling coves provide an ambient glow, decorative lamps flank the bed in a playful composition of quirky artifacts. Defining a strong hierarchy of perception, the eye is drawn to corners and nodes with interesting spatial moments; and lighting products are used to enhance the characteristics of the space. Matteo says, “Light is one of the principal elements in our work and for all our projects. Our design lays in the details, finishes, proportion and harmony, rather than in very particular shapes or dramatic contrasts. The only way to exalt the effect of those materials and surfaces is through the right illumination. In the Trump Towers Pune, an ultimate luxury residential project we wanted to create a real home where you want to live, stay, chat and relax, so all the lighting is indirect, hidden, soft and comfortable.” While the lighting scheme of both, Yoo Pune inspired by Philippe Starck and Trump Tower, vary considerably, it is clearly established that the designers lay much emphasis on the light quality in the space. As Don Jr. says, “Lighting is tremendously important in all of our projects and probably one of the most critical design elements. It creates the mood, defines the space and atmosphere and highlights the most exciting design elements. Each feature within a space has a purpose and how it is illuminated impacts the resident’s or guest’s experience. Designers and lighting consultants need to work hand-in-hand to ensure that we are raising the bar on design for each and every project. Developing the right program requires discipline, time and resources, but the results are invaluable to the success of each project.” www.panchshil.com www.yoopune.com www.trumptowerspune.com




King of time and space Inspired by Shakespeare's King Lear and the origins of Quebec society, director Hanna Abd El Nour has created a festival of theatre with the help of architect Mazen Chamseddine and lighting designer Martin Sirois.

Pics: Christine Bourgier



Using Shakespeare's King Lear as inspiration, Requiems King Lear is a theatrical festival by Hanna Abd El Nour, which visited Espace Libre in Montreal. The project used an old barracks converted into a theatre as the setting for Nour's contemporary project, creating a dramatic space for the actors and spectators. Making use of a 360째 theatre, the idea was to create an installation modelled on the City of Quebec. The immersive design by Nour and ephemeral architecture by Mazen Chamseddine was inspired by King Lear and his fate - when, overnight, he is stripped of his power and status and left homeless to become a nobody, living in a nowhere

place and attached to nothing. It is also inspired by the origins of Quebec society and the performance of the actors; with the two inspirations driving and sustaining one another. The set becomes a spacetime realm to be inhabited by visitors, made up of three worlds intermingled in the scenography created in situ. The three elements that define the space include: an immense wooden structure, numerous stacks of newspaper and a concrete block. All three elements came into conflict with the light and music to create a marketplace in which the ideas of the actors and the audience were expressed. The striking theatre featured raw concrete

walls, deliberately left exposed to form part of the scenographic landscape. Contrasting with the stark brutality of these walls, the wooden structure divided the room diagonally, offering a degree of transparency, giving the impression of an opening or a passage to an imaginary world. Suspended in the centre of the room, the wooden structure immediately becomes both the contents and the container, providing a walkway through the large empty rectangle of the theatre. As if floating in the air, the structure represented a nowhere land, an inhospitable place that is perilous to traverse. Consisting of two mirror-image sculptures separated by a


Sirois carved out space in the darkness using spotlights from Leko Lite and floodlights from Strand to envelop Chamseddine's suspended wooden structure in a cloak of light.

void, the structure gives the impression of a black hole which becomes the centre of the universe, extending to infinity. The 175 stacks of newspaper reporting the city’s news populate the space, which transformed into a labyrinth to walk around. In reference to the newspaper stacks, Nour commented: "They serve both to create King Lear’s barren heath and to provide seating for the audience." The stacks were arranged in the room along a Cartesian urban grid, traversed by two storms, transforming the configuration by creating one centre at either end of the room. As a consequence of this arrangement, the boundaries between the

spectators and actors was deliberately blurred, especially as spectators were given a shot of vodka at the start of the performance. A concrete block with the same dimensions as the newspaper stacks, acting as a counterweight to Chamseddine's wooden structure, was positioned facing the wall of the room. The steel wires used to suspend the installation heighten the feeling of insecurity and fragility, creating a poetic image and evoking the strings of destiny - the ties between humans and the social hygiene of the city. At first, the approach to lighting for Requiems King Lear was that of darkness,

but when faced with the empty space, lighting was used to create volume. Lighting designer Martin Sirois used light for its architectural features, aside from its function to illuminate or show. Sirois' idea was to structure the dark around the architecture designed by Chamseddine. His concept looked to suggest that light was living free before meeting the materials filling the space. The darkness was therefore cut surgically, suggesting a space outside of the visitor's body and time. In reference to the introduction of lighting to the project, Sirois said: "Working with Hanna Abd El Nour and filling the space for the first time, is why we directed the



PRoject details Director: Hanna Abd El Nour Architect and Scenographer: Mazen Chamseddine Lighting Design: Martin Sirois

lighting specified ETC Express 48/96 lighting console Leko Lite 575W 26째 spotlights Leko Lite 575W 36째 spotlights Strand Lighting 500W Coda floodlights Dataflash strobes R4307 gels

concept towards the stars and astronomy." In each of the four corners of the theatre, Espace Libre spirals were installed - each with a distinct centre. This created a symbol of a black hole or the wheel of fortune. In the centre of the spiral, a projector directed towards the centre of the space and structures reflected the feeling of emptiness within the visitor, a dark framed space, evoking the fear of the unknown. In the centre of the theatre nine moons, symbolise birth, life cycles, fate and destiny, but also the image of death and travel.

Commenting on his inspiration, Director Nour said: "In the Divine Comedy, Dante rises through nine heavens, like new spheres revolving around the earth. While Dante rises into the new heavens, King Lear falls to the absolute void of existence. Nothing." Nour's Requiems King Lear looked to create the idea of a tenth heaven, consisting of ten projectors placed in a rectangle, like a sky framework that exists in a place further away from our world. Its mission was to replicate the movement of the heavens, controlling our destinies; in contrast, it is

with this movement that time arises, which limits all that exists. The sky structure forms the tenth wasteland of King Lear, the the lost paradise, the promised land of the Apocalypse. Finally, the stars, created by 20 strobes directed on the wall of the theatre, looks to remember the death of stars, or the speed of light, as distant and mysterious. Achieving true immersion through light, space and suggestive experiences, Requiems King Lear is a project that allowed visitors to transcend space and time. www.espacelibre.qc.ca

Photo: mondomoment by Lawrie Nisbet photographed by Paul Roberts



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stage cycle From scissors to stage, Jonathan Safran Foer's novel Tree of Codes tells a mesmerising story in Wayne McGregor's ballet interpretation to an encapsulating set design from Olafur Eliasson and Jamie xx score.

Pics: Rick Guest

Pic: Courtesy of Olafur Eliasson

Manchester International Festival (MIF) biennially brings to Manchester's city centre an array of original works across the interdisciplinary spectrum of performance, visual arts and popular culture. Having previously featured works involving such respected design figures as Zaha Hadid, this year's festival was no exception to the standard set by the first three. MIF15 brings together choreographer Wayne McGregor, visual artist Olafur Eliasson and Mercury Prize-winning producer/composer Jamie xx to create a contemporary ballet inspired by the book Tree of Codes by Jonathan Safran Foer. For just three days of the festival, from 8-10 July, soloists and

dancers from the Paris Opera Ballet and dancers from Company Wayne McGregor formed the company performing to a mesmerising set created by Eliasson and to a score composed by Jamie xx. Foer’s novel is literally carved from the text of Bruno Schulz’ Street of Crocodiles; words and phrases are cut from the pages to produce an entirely different story. A character chases his life to extinction through immense, anxious, at times disorientating imagery, crossing both a sense of time and place, making the story of one person's last day everyone's story. The creative team worked together for two years to make a contemporary ballet that


Pic: Ravi Deepres

responds to this enigmatic artwork. A tremendous inspiration for the lighting concept and sequence of set design, Eliasson viewed Foer’s Tree of Codes as vibrant matter; it doesn’t explain ideas but vibrates them. Tree of Codes “embodies space and a narrative – or various narratives – within it," Eliasson commented. "I tried to translate this feeling into the visual concept.” Eliasson felt a connection of abstraction with both McGregor and Jamie xx in contemporary languages, as they each give their output a form and a tone that is accessible to broader audiences. This production brings together sound, dance, and light in a way where the audience feels invited to join the dance, to take part. For Eliasson, the upper end and instrumental layer are like navigational tools that “remind me of where I come from and show me where I'm going. What touches me in Jamie’s work is that the mechanics of this looking forward and backward, or inward, perform in concert.” Every so often, vocals slip in, tying lighting, dance and music together. The human voice becomes a door through which the whole piece can be entered. “Producing reality is always about a relationship between you and a space,” commented Eliasson. “I see dialogue as a way of staying interconnected, so I almost always work collaboratively, whether with my in-house studio or with inspiring people such as Wayne and Jamie.” The ultimate collaboration across disciplines and talents, Tree of Codes is a stunning, consuming illustration of the power of light art in all its diversity. www.mif.co.uk www.olafureliasson.net



LIGHT trip Liz West introduces her latest psychedelic light experience. As part of the UNESCO International Year of Light celebrations, Liz West’s brand new installation An Additive Mix opened at the National Media Museum in Bradford, UK in July, alongside a series of workshops and demonstrations by artists-in-residence. Running until 1 November 2015, Light Fantastic: Adventures in the Science of Light includes a publicly viewable dark room, interactive light experiments and exhibits from the museum’s National Collections of Photography, Cinematography and Television. In addition, there are regular family activities and events take an illuminating hands-on approach to the science of light. An Additive Mix is designed to be enjoyed by all ages and builds on themes developed in West’s previous works - including Your Colour Perception, which has been described as ‘walking through a rainbow’ and shortlisted for a darc award in the 'Best Light Art Installation' category. This latest work, West’s largest commission to date, turns this occurrence in natural science on its head; reassembling the diffracted colours of the rainbow and projecting them to ‘infinity’ as visitors explore. West commented: “This is a body of work that I have dreamt of being able to make for a number of years. To be given the opportunity as part of the museum’s celebration of light is thrilling and very fitting. “Artworks I remember seeing as a child are the ones in which I was completely

Pic: An Additive Mix by Liz West, 2015, photograph by Stephen Iles © National Media Museum/SSPL

immersed, and that’s what I hope An Additive Mix will achieve: taking people out of the ordinary into the extraordinary, and staying in their memories for a long time.” West created a 10m x 5m room containing 250 6ft fluorescent tubes with filters in 191 individual colours, and combined the intense vibrant light with ‘infinity’

mirrors. An Additive Mix takes the principle that white light is composed of different colours of the spectrum (additive colours) and places people in the centre of the phenomenon; saturating them in individual hues that collectively create white light in a seemingly endless space. Speaking with mondo*arc at the launch


event, West said of the piece: “With a lot of artwork, concept is king and a lot of artists will have a particular intention when making their piece. It feels like there is an influx of work that is very static and floor based – seemingly made up of components and often you’ll get a bit of blurb next to the piece explaining what it’s supposed to

mean. I’m very aware people bring their own experiences and emotions into work like mine - particularly with pieces like An Additive Mix and A Colour Perception and never would I want to prescribe feelings to people. However, what I definitely want to do is make people feel - there’s a lack of work that makes people do this - yes there

are pieces that make them think, but if it doesn't do something to them physically and emotionally then what’s the point? If you feel like you don’t get something out of a piece then to me, you’re left feeling empty.” For West personally, feelings of comfort and relief are evoked when walking into the space: “It’s an environment I feel I can cope very well in – I find the feelings similar to those I get when walking into a sunny courtyard. When I see light on that scale it immediately lifts me and gives me energy and I feel very playful.” For mondo*arc’s Deputy Editor Helen Fletcher, it was a very different experience – almost trippy - bringing back memories of films such as Willy Wonka and the Chocolate Factory or Alice in Wonderland - almost an uncomfortable experience. In addition to An Additive Mix, the first of two artist-in-residence projects also opened in as part of the Light Fantastic exhibition. Martha Jurksaitis (Cherry Kino, based in Portugal) and Christian Hardy (Alchemy Studio, based in Bradford) investigate and contrast the scientific principles behind dark and light. Creating two fictional worlds - one permanently bathed in daylight, the other constantly night time - the artists demonstrate both analogue and digital techniques in photography and filmmaking, focusing on the challenges of extreme light conditions. www.nationalmediamusuem.org.uk www.liz-west.com


art & design / projecting change

INVOKING GODDESS KALI Using the Empire State Building as his canvas, Android Jones creates the ultimate climax for Projecting Change, a movement to preserve endangered species of animals. Mrinalini Ghadiok and Amit Gupta speak with Android about invoking Goddess Kali as his chosen medium to express his visual thought.

Pic: Joshua Brott, Obscura Digital

Art can be created anywhere. Some like to draw in the comfort of their studio, while some enjoy the great outdoors, some are inspired by the movement of people, while others capture moments in time. And then there are those, who take the city captive as their brush sweeps across the façade of one of the most iconic buildings in the world. On, 1st August 2015, the Empire State Building came alive with a fascinating projection of endangered animal species including Cecil the Lion, a snow leopard, a golden lion tamarin, manta rays, snakes, birds and various mammals and sea creatures. Oscar-winning director and Oceanic Preservation Society (OPS) founder Louis Psihoyos and team, in collaboration with Obscura Digital, Academy Award nominated composer J. Ralph, Discovery Channel, Vulcan Productions, the Li KaShing Foundation were responsible for this one of a kind video projection. Over 350 feet tall and 186 feet wide,

covering 33 floors on the south façade of The Empire State Building, the video animation was created using 40 stacked, 20000-lumen projectors on the roof of a building almost two blocks away. The LED lights atop the Empire State Building were coordinated with the projection that began at 9pm and lasted past midnight. Projecting Change at the Empire State Building saw global appreciation, but it curiously also attracted flack from people world over. While the concern for animal extinction was brought to the fore, a section of the viewers challenged the use of Indian Goddess Kali who culminated the program with her tongue drawn sharply down the length of the New York’s powerful edifice and her fierce eyes piercing through the crowds of Manhattan. Android Jones, the man behind the compelling visual received as much praise as he did grouse. Working with Obscura Digital, Android was responsible for the last 30 seconds of the projection. Hunched over

the drawing board, staring into his screen, he spent four days conceiving idea after idea for that perfect climax to this most impactful event. Android, tell us a little bit about Projecting Change and how you got involved in this incredible project. I have been working on a freelance basis with Obscura Digital for almost a decade and we have done some great jobs together, like the Sydney Opera House and also projections on the UN building last year, in conjunction with the Racing Extinction / Projecting Change Project. Racing Extinction is a movie that aims to create awareness and find solutions to the issue of animal extinction. For the past two years we have been talking about how the final scene of the movie could be a projection on the Empire State Building. Louis and Travis Threlkel, of Obscura Digital usually work jointly to conceive the concept


Pics: Joshua Brott, Obscura Digital

and select the music; and then the art team comes together to create a storyboard. As one of the artists, I was assigned the last 30 seconds of this project. What kind of creative team is involved in putting together a project of this nature? There could be up to a dozen artists working on and off on a project of this scale. Each have their own specialties some are on the creative side, while some are on the technical side, solving creative technical problems of getting the math and geometries right, understanding the capabilities of the projectors, determining numbers, where to place them, how they would work with the environment etc. Every project has its own challenges and opportunities, and there are people to address each one of them. How did the Indian Goddess Kali appear within the scheme of things? It was in part a continuation of what was

done on the UN building, where very similar visual material was used. We were working with the base direction of showcasing the animals and their situation. There too, I had a similar role, of envisaging the closing image. There they wanted a Mother Earth Gaia image, with a human element. We designed an ornate figure, where the earth turns into the face of the woman, surrounded by the entire biosphere of life. Looking back, Travis and I felt that even though it was a striking image, when related to what the film was trying to convey, the beautiful image of a compassionate Mother Earth was not very motivating for the people. It did not have the desired impact; and in fact it was a little forgettable. So taking from that experience, I wanted to do something different for the Empire State Building. Travis had a similar design brief here too, wanting an image of the spirit of Mother Earth, “Something that shows life exploding from these very intense eyes of Mother Earth.”

How did you translate the brief into the eventual visual? We had wanted to work on the Empire State Building for a number of years, but when it came down to actually doing it and taking into account the logistics, time was very limited. I had about four days to come up with whatever we were going to come up with. Initially Travis’s art direction was very open ended; he wanted a female face, with a certain presence and power, and really intense eyes. Given the nature of the building, with all the different windows, varying levels, edges of the façade, and variable spaces; the artwork needed to be something that does not have a lot of detail, but is iconic. Travis wanted to “weaponise art – make art that really leaves a mark.” On one hand I had the freedom to pick from a multitude of directions, but that freedom also came with an unbelievable line of pressure. I was very aware that this was


art & design / projecting change

Pics: Android Jones

probably going to be one of the biggest and most visible jobs I may ever do in my life; and I only have four days to do it. We sifted through a few ideas for 2 days; one of them being a south American Pachamama image of the spirit of Mother Earth. It was a compelling image, but not the right one; so we started from scratch. The next image was that of a woman who had tiger elements to her. It was back and white and very stark. Again, it was a captivating image, but not quite there. We eventually came down to the final 24 hours, and the last thing Travis said to me was, “Imagine if there were just eyes looking at you; no face, it was all black and there were just these eyes that expressed all the passion and ferocity of mother nature staring down at New York City.” With such an open-ended design brief, how did you derive at Maha Kali? The imagery could have taken any direction. I simply forgot everything else and

meditated on what Travis had said, on the piercing eyes, and a fierce incarnation of the spirit of Mother Earth. That is when it struck me – one of the fiercest goddesses is Maha Kali. To top that, the canvas that I was working on was perfect – the channel in the middle of the building would be ideal for the black face, three eyes staring at you and Goddess Kali’s bold tongue. It fulfilled all the different requirements of having a graphic that was strong, iconic, fierce, powerful and memorable. I thought about how I have one opportunity to make a really powerful image. I believe there is a real power in visuals, and one can use this universal language to communicate things with people. This project was like a prayer that we were putting out there, and given all the options and parameters, it felt right to be projecting the image of Maha Kali, the destroyer of darkness and ego. It was the most powerful and meaningful statement I could make with the opportunity that I had at that moment.

After having struggled with envisioning the final image, it was a beautiful moment of realization when Goddess Kali came to me. It made me understand that maybe I had to go through the initiation of those three days to reach this point. Plus the message that we were trying to convey was of utmost important and needed to grab the attention of people. I have to say, this was the most loved and the most hated pieces of work that I have ever created. We can imagine why this work was so loved by everyone, but why was it hated so widely? While working on it, I realised that it would have been a lot safer to make a beautiful, compassionate, generic Mother Earth figure that would not ruffle anyone’s feathers. However, when it hit me that I have the potential to invoke Maha Kali on to the Empire State Building, one of the most classically capitalist, masculine, phallic


Pic: Android Jones

structures in human consciousness, I had to make that choice. As an artist you have intuitions, you create something and feel that you are on to something, and that it will have an impact. I immediately reached out to many of my Indian friends, a yogi from Rishikesh, a Babaji, a swami, among others. I asked them what their impressions would be and if there might be any cultural appropriation, or cause for offence. I got a very encouraging response and was supported unanimously by them. However, the backlash that I received was predominantly from religious fundamentalist movements, demonizing the project and claiming Maha Kali as the goddess of death and destruction. There was a lot of criticism for projecting a ‘Satanic’ image of the ‘Goddess of destruction’ in the heart of New York, a city that has already been through many traumatic experiences. People who questioned the use of Kali, did

not take an extra moment to understand that she is the goddess of death-of-evil and destruction-of-ego. Unfortunately may people refer to the movie Indiana Jones as the barometer to understand Kali; but I realise that these negative comments came from a place of not being aware. And for me it was more important to use this opportunity to entice a curiosity about her, and encourage people to understand her. Images and video captures of Projecting Change went viral on the Internet and were momentously trending on social media. Did it have the effect that you were anticipating? Travis had said, “The whole planet could be on the same page for once; anybody with a cellphone or computer would know about it. To create a tipping point, you probably need 10 percent of the population. With the film and this event, we are trying to reach that number. If you hit that number, then you have a chance of moving the needle.”

Post the event, Obscura Digital’s statistics show that there were over a billion exposures to the project through social media, interviews and TV appearances, which is one of the largest, definitely more than 10%. Projecting Change conjured positive as well as negative reactions, but it is important to note that people were reached and there was an impact. If you look at the causal factors for this issue of animal extinction, it is the darkness and ego of man that gives money and pride undue importance. And that is why the planet is in trouble right now. Goddess Kali is the most powerful slayer of ego and darkness, and therefore the most appropriate symbol that could have been used to communicate this message, that too on such an influential canvas as the Empire State Building. www.racingextinction.com www.obscuradigital.com www.androidjones.com


art & design / Falaknuma Palace, hyderabad

A MIRROR OF THE SKY Eminent photographer Bharath Ramamrutham knocks on the doors of the Falaknuma Palace, to explore its forgotten charisma. As light sweeps in to immerse its volume in a golden hue, Mrinalini Ghadiok describes the forlorn embrace.

Pics: Bharath Ramamrutham



art & design / Falaknuma Palace, hyderabad

““Structure is the giver of Light.” - Louis Kahn”

Open arms it stood laden with tales of history Bedecked in the finest jewels and bedizened in traditional glory The palace that once was described to be like the heavens Feet firm on the ground it sobbed in forgotten misery The Falak-numa, an era gone by The Falak-numa, a mirror of the sky Driving into the grandeur of the palatial porch, tripod in one hand and camera clutched in the other; Bharath makes his way to the door. Cutting the chords that have held the palace captive for over eight decades, he pushes through the entryway to find himself standing, breathless, within the confines of what used to be the grand residence of the esteemed Nawab Vikar-ul-Umra, Prime Minister to Mir Mahboob Ali Khan, the Nizam of Hyderabad in the late 1800s. Surrendering the property to the sovereign’s fancy, the palace was turned into the royal guesthouse, which gradually withered into oblivion after the Nizam passed and the guests faded. Shrouded in a thick cloud of dust and obscured in nostalgic melancholy The palace pined in darkness for a modicum of compassionate relief As the light thrust itself in a flood of amber haze The golden lava vanquishing every corner of the silent space The Falak-numa, awoken from a state of lie The Falak-numa, a mirror of the sky Bharath positions his camera as the dust settles, composing exquisite images of the former glory, gentility and grace of the palace. An opulence unmatched, a style untapped and décor that still upholds the charm of a hundred years; he patiently waits as rays of light scamper through the space; over ornate furniture, around astounding sculptures, along spectacular stairways, and through breathtaking doorways, to finally lay rest on the poised lens of his camera. Photographing solely in existing light, Bharath’s images bring to life the magnificent enchantment of a deep slumber. Caught in a frenzied waltz of light and space and extravagant décor Positioning the camera to capture an immaculate moment of yore Sharp arrows of golden brightness shooting through doorways Engulfing the palace and etching on film its longing embrace The Falak-numa, caught one last time in moments gone by The Falak-numa, a mirror of the sky Photographs: Bharath Ramamrutham, as part of 'FALAKNUMA Hyderabad' by Bharath Ramamrutham, George Michell, Anthony Korner, Graf Publishing Copyright © 2010 by Graf Publishing Pvt Ltd (available at amazon.com) www.bharathram.com Quotes: 'Catching the Light, THE ENTWINED HISTORY OF LIGHT AND MIND' by Arthur Zajonc, Oxford University Press Copyright © 1993 by Arthur Zajonc


“Light and geometry were the intertwined themes of these sacred structures.�


art & design / Falaknuma Palace, hyderabad

“Where Silence and light met, in the space formed by their union, he discovered inspiration.�


“As a pure ray enters a glass window and emerges unspoiled, but has acquired the color of the glass…”


art & design / Falaknuma Palace, hyderabad

“If the doors of perception were cleansed, everything would appear to man as it is, infinite.�


“Light should only exist in as much as it is seen? No! You would not exist if the light did not see you!� The Falak-numa, an era gone by The Falak-numa, awoken from a state of lie The Falak-numa, caught one last time in moments gone by The Falak-numa, a mirror of the sky


art & design / Sir Peter Cook

HOW MUCH DOES YOUR BUILDING WEIGH? * Eminent English architect, lecturer, writer and artist, Sir Peter Cook accompanies his masterpieces to be exhibited in New Delhi. Fascinated by drawings that meticulously articulate architectural imaginings, Vishal K Dar describes two works that capture and respond to natural happenings such as the sun and photosynthesis.

Pics: Gallery Espace, New Delhi

Cook’s careful and precise use of shadow gives these lines a wondrous location within material, texture, volume and technology. In this exhibition, Solar City and Veg House SERIES stand out as the ones that have deep resonance with the current state of ecology. “It’s eminently buildable,” said Peter Cook of Solar City, a radical proposal of an environmentally friendly development of solar-powered houses for a German architectural competition in 1979. Cook competed for this project with architect Christine Hawley. Various technical criteria and the effect of concentration upon individual solar houses led him to suggest that there could be a whole –integratedcity of such homes. Much like the Plug-In City, Solar City too embodies Cook’s (and ARCHIGRAM’s) commitment to a high tech, light weight, infra-structural approach that was focused towards survival technology, and not just about a seductive vision of a glamorous future machine age. Inevitably with Cook, all conversations lead back to Archigram, which he felt had pigeonholed him as a non-builder. Cook said,“Archigram was a building practice, but our big buildings never got built.” An axonometric drawing represents the plan of the building as a three-dimensional space. Though it may look like a print, Cook drew and rendered this piece completely by hand. Gazing at some of Peter Cook’s early drawings, recently presented at Gallery Espace in Delhi, one wants to know ‘has the future already happened?’ Cook is a visionary and has been a pivotal figure in defining radical new possibilities in architecture. As one of the founding members of Archigram, the avant-garde futurist architecture group of the 1960s,

The Plug-In City has been one of his most significant contributions, which continues to invoke debates on technology and society. Cook’s drawing and rendering techniques continue to expand and redefine the imagery of an ever evolving architecture of ideas. These exquisite drawings hint at the constructability of the unbuildable. Lines flow and dance and curve and bend and fly.

The project featured in the Box-catalogue for Peter Cook’s celebratory exhibition ’21 Years-21 Ideas’ at the Architectural Association, London and then toured – with the solar houses exhibition to Berlin,Frankfurt and Vienna. (Gallery Espace)


Sir Peter Cook; Solar City; Airbrush on paper; Size: 23.4 x 23.6 inches; Years: 1981


art & design / Sir Peter Cook

Sir Peter Cook; Veg. House-Stage 1; Watercolour on paper; Size: 20 x 28 inches; Year: 1996

Sir Peter Cook; Veg. House-Stage 2; Watercolour on paper; Size: 20 x 28 inches; Year: 1996

The Veg House is a strange organism. Here Cook creates a silent spectacle, one that is concerned with the invasion of a familiar organo-alien technology at a much less obvious level.This series of drawings explore the idea of a puzzling horizontality, akin to the growth and expansion of houseplants. Cook says that ‘the notion of PLANTATION is the clue to the whole project’. The entire HOUSE shape shifts as the GARDEN expands into the built habitat, starting a game of negotiations between the NATURAL and the ARTIFICIAL, and evolving into a condition of micro-urbanism with variations in shape defined through density. It is not possible to look at these visions as rendered medium restricted to the bounding box of drawing sheets. Just as the vegetation is being invited to enter and transform the built within the drawing, you too are being seduced into a similar participation of delicious proportions. This drawing series was produced between 1996-2001.

The vegetated house project is the story of a progressive growth that starts with a triangular roofed area (in yellow) that shelters a series of armatures. Over time the territory acquires more and more vegetation – and hybrids that have a strange analogy to vegetation, but are not necessarily natural growth. (Gallery Espace) Extensively published in books and magazines including: ‘Architectural Review’, ‘The City seen as a Garden of Ideas’; ‘Drawing – the motive force of Architecture’, etc. Exhibited: Design Museum, London; Art Institute, Chicago; Mito Art Tower, Japan; FRAC, Orleans, etc. Sir Peter Cook; Veg. House-Stage 3; Watercolour on paper Size: 20 x 28 inches; Year: 1996


Sir Peter Cook; Veg. House-Stage 4; Watercolour on paper; Size: 20 x 28 inches; Year: 1996

Sir Peter Cook; Veg. House-Stage 5; Watercolour on paper; Size: 20 x 28 inches; Year: 1996

The exhibition at Gallery Espace features drawings from the last four decades of the 20th century, including the 1963 Montreal Tower: a work made before the existence of the ‘Archigram’ Group (which led to Sir Peter’s being awarded the Royal Gold Medal of the Royal Institute of British Architects). The exhibition will be on from 23rd August - 22nd September 2015. www.galleryespace.com

Sir Peter Cook; Veg. House-Stage 6; Watercolour on paper Size: 20 x 28 inches; Year: 1996

* “How much does your house weigh?” This was the question Buckminster Fuller used to ask when marketing his prefabricated, lightweight Dymaxion house in the 1920s.


art & design / Lighting Detectives

DETECTIVES ON THE PROWL Based on extensive lighting environment studies and practical fieldwork, the Lighting Detectives is a forum to discuss the future of humanity and better light.

Pics: Lighting Planners Associates

The Society The Lighting Detectives is a non-profit society dedicated to the study of lighting culture. All things surrounding and concerned with light, lighting and akari are regarded by the Lighting Detectives as lighting culture. Based on extensive lighting environment studies and practical fieldwork, the Lighting Detectives is a forum to discuss the future of humanity and better light. The History The Lighting Detectives were established in Tokyo in 1990 with lighting designer and acting chief, Kaoru Mende and six other volunteers. In 2000, Ulrike Brandi and Aleksandra Stratimirovic from Europe also joined, and for the first time the society extended beyond Japanese boundaries to form the Transnational Lighting Detectives. Presently, Tokyo is the official headquarter with 12 chapters in the following cities; Hamburg, Stockholm, Copenhagen,

Singapore, New York, Belgrade, Beijing, Bangkok, Taipei, Madrid, and Mexico City. A core member from each chapter is a central contact in a local network that helps to organize an annual rotating conference, the Transnational Lighting Detectives Forum. The Goal Cities all over the world today are full and overflowing with light. The streets of the 20th Century gradually became lighter and brighter, resulting in a safe and efficient lighting environment. However, many cities have become too bright and lost their shadows, and accusations of light pollution have started to arise. Is this lopsided development of light in only volume really creating a more pleasant nightscape? The goal of the Lighting Detectives is to shift the value of light from quantity to quality. Instead of getting swept up in light globalism, they would rather cheer for fostering light localism. Nurturing a

love of delicate light quality, they enjoy the local lighting culture that surrounds it. In cooperation with Lighting Detectives volunteers all over the world, they continue to develop their club activities. Club Activities The Lighting Detectives hold regular activities and participate in various events. Seven activities, considered the backbone of the Lighting Detectives, are listed below. 1. City Walks and Lighting Salon The Lighting Detectives wander the streets at night looking for heroes and villains of light. On these outings, the main objective is to sharply critique the lighting environments encountered. Instead of idealism or just studying the literature, they use their own feet to walk the streets, and eyes to correctly assess and observe actual city nightscapes. A close, accessible place and theme are decided for each city walk. Afterwards, they gather around a table to


discuss what kind of lighting experiences and environments were discovered. 2. Urban Nightscape Survey To better understand and to have comparative discussions about various lighting environments, the Lighting Detectives are continuously visiting and surveying urban nightscapes around the world. Presently, the survey list totals 70 cities and all data is routinely updated to the digital World Lighting Journey Photo Library on the website. It is an important record of basic data that can be used in comparative discussions about lighting environments around the world. The goal is to make the digital library a user-friendly, public record. 3. Publications and Multi-media To spread the word about the Lighting Detectives initiative, club activities are published in several books and survey reports are regularly submitted to newspapers and magazines as well. The

Lighting Detectives appear on TV and in radio programs to promote and bring recognition to lighting culture. 4. Seminar and Exhibitions Public seminars and exhibitions are held for members as well as non-members. Previous events include, “You too can be a Lighting Detective”, “2050 Tokyo Nightscape”, and “World Lighting Journey”. Special guest speakers, intuitive interviews from noteworthy professionals, and other components closely examine lighting culture and urban lighting from various points of view. 5. Workshops and Citizen Participation Events Events include ‘Nightscape Watching Tours’, overnight tours to observe nightscapes, ‘Light up Ninja’, an event to freely experiment with and change ordinary urban lightcapes, and ‘Candle Night’, an ecofriendly light-down event. Through these events, local residents learn about the playfulness and complex nature of light.

Children workshops such as crafting original lanterns and enjoying its illuminations have become regular events to educate elementary to junior-high school age children, and also increase membership of Lighting Detectives Jr. 6. Transnational Tanteidan Forum In 2000, the Lighting Detectives transcended country boarders and formed the Transnational Lighting Detectives. Presently there are 12 chapters around the world. Each chapter holds individual activities, but once a year members gather for the annual Transnational Tanteidan Forum, a traveling conference dedicated to lighting culture. In the beginning, the forum traveled between chapter cities, but in recent years the Lighting Detectives are invited to cities interested in their activities. With the help of local staff, members hold workshops and symposiums for a joint event. The next forum will be in Mexico City, November 2015. www.shomei-tanteidan.org


art & design / EXHIBITION: NIGHTSCAPE 2050

2050: a light odyssey Internationally renowned lighting designers, Lighting Planners Associates celebrates its 25th anniversary with the launch of a transcontinental travelling exhibition, Nightscape 2050 A Dialogue between Cities-Light-People in the Future.


Leading international lighting design firm, Lighting Planners Associates (LPA) is celebrating its 25th anniversary with an ambitious travelling exhibition called Nightscape 2050, running from August 2015 and to June 2016. The exhibition will commence in Berlin and end in Tokyo, stopping at Singapore and Hong Kong along the way. The exhibition sets out to build a dialogue between cities, light and people in the future by asking the question: How will we interact with lighting in the year 2050? It dreams of an exciting life in the future coexisting with wonderful light. Kaoru Mende, principal of LPA said: “We would like to create a unique experience in which we share our ideas / thoughts on how

lighting and our way of being in the future could be, rather than trying to predict our future.” The Nightscape 2050 theme and concept is a product of the ever-increasing emphasis on light and lighting, which is now more prevalent than ever before. This has been made evident by a global initiative from UNESCO to declare and celebrate 2015 as the International Year of Light. With this in mind, Nightscape aims to explore a completely new horizon of lighting design. While creating an exhibition to share with the visitors what Mende calls the: “hopes and dreams of the future for light and human beings,” it will also address current issues such as light pollution and bad usage

of light prevalent today. Mende said: “We would like the exhibition to be enjoyable, comprehensible yet cutting edge and convincing.” The exhibition is designed to be: • experiential, so that visitors are able to feel the different lighting phenomena proposed • educational, so that visitors can learn from nightscapes around the world, as well as from thought-provoking interviews with visionaries offering their extraordinary insights (architect Toyo Ito, inventor of the Blue LED – Shuji Nakamura, industrial designer - Ingo Maurer and others) • imaginative, so that creative sparks by children through workshops give hope to the future.








The exhibition will consist of five areas: 1. A Unique Light Experience Creating a space that visitors can experience LPA’s principles of light such as ‘learning from nature’ and their relevance in the present as well as in the future. 2. World Nightscape This area of the exhibit looks to answer the question: “Where are we going?” by showing the panoramic and exciting nightscapes around the world. 3. Chronology and Interview A timeline that shows critical events that shaped the evolution of lighting to the present day and then on to include the imaginable future. The exhibition also contains interviews with visionaries on their profound visions of the future.

4. Opening Ceremony Kaoru Mende’s note about the exhibition presented to a congregation of lighting enthusiasts. 5. Workshop and Symposium Workshops will involve local participants and will be co-organised with local institutes. Each of them will be site specific; for example, in Singapore, the exhibition will be held to coincide with the nation’s 50 year anniversary and will include an invitation to local students to offer them a look into how the country will develop in another 50 years. Workshops will be organised both for children, to provide them with an opportunity to offer their best creative and innovative ideas, as well as architects and designers that may have a

more structured view of the future. LPA also intends to organise a symposium that debates the future of light and lighting in each city, with distinguished panelists being invited to create a lively and fruitful discussion. As a core underlying theme for Nightscape 2015 - The exhibition will also be presenting a new light concept in the coming future for each of the critical components that affect our daily lives - home, street, people, park and city. The exhibition will be stopping at: Berlin Aedes Gallery, Singapore - National Design Centre, Hong Kong - ArtisTree and Tokyo Temporary Contemporary. www.lighting.co.jp www.facebook.com/lpa.exhibition


art & design / chase the dark

A GOBAL NIGHT OF CREATIVITY IALD Chase the Dark for the first time in India!

Light enthusiasts in India, mark your calendars for 01 October 2015 - the countdown for Chase the Dark has officially begun! Now in its third year and for the first time in India, Chase the Dark is bigger than ever, with 30 cities (7 of them from India!) pledged to take part. The objective of this global event, hosted by the International Association of Lighting Designers (IALD) is to connect lighting designers all over the world through the medium of design and the power of light. In 2013 the Regional Coordinators of IALD in London, UK developed an event for students. Working closely with the lighting manufacturer acdc they used LED plastic ice cubes to create mini lit scenes in their local environment. Participants photographed the works and tweeted the images, which were then screened before a live audience. Seeing much success, IALD decided to

repeat the same event at a larger scale, in different parts of the world. Choosing a single date to host the exercise, Chase the Dark commenced on the eastern edge of Australia and worked towards the western coast of the United States, literally chasing the dark around the globe. Teams from 17 participating cities captured photographs of their installations and shared them on social media. The following year, participation rose to 23 cities as they created lanterns with a single piece of paper, one light source and one hour to give form to their conceptions. Again, tweeting their work, they ‘Chased the Dark’ from one end of the world to another. In 2015 this activity is totally free style and open to anyone for participation, all you need is two smartphones! Using the flashlight function of your smartphone, you have to create a unique light effect on any surface,

or transform the phone itself in to a lighting fixture. Using the other phone, you need to capture the effect in an image. You can use filters, props or any other aiding material. The sky is the limit and the only thing that can hold you back is your own imagination! Take a photograph and share it on any social media using the hashtag #ialdchasedark and watch as you become a part of the wave that illuminates the globe one time zone at a time. IALD’s Chase the Dark program has been generously sponsored for the third year running by LIRC member acdc / acdc corp. To form groups and teams, and meet fellow designers in your area to work up your designs together, contact: amdugar@lighting-rnd.in www.iald.org iald.me/chasedark-2014 iald.me/chasedarkvideo

Underwater-Lighting. Exterior-Lighting.

Conrad Maldives Rangali Island

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Authorised Distributor: Versalite Hitech Lighting Pvt. Ltd., Mumbai Office Tel 022 43331818 Hyderabad Office Tel: 098481 59494 Bengaluru Office Tel: 093410 21012 Contact : marketing@versa-lite.com

WIBRE Elektroger채te GmbH & Co.KG Made in Germany. Since 1919. www.wibre.de

10.07.15 12:58


art & design / pLDC 2015, ROME

The Professional Lighting Design Convention, 2015 Rome, 28 – 31 October 2015

Professionals from different fields of practice and research will be coming together to discuss and exchange ideas, approaches and concepts pertaining to light. This international and interdisciplinary understanding of lighting design supports the continuing process to gain recognition for this specialist discipline and for the profession as a whole. AN EDUCATED DECISION The motto for PLDC 2015 is a clear announcement and appeal for more design to be evidence-based and to address and incorporate current research findings. Education in the field of architectural lighting design is the key to quality designs. Lighting design is an independent profession, and the scope of work of a lighting designer, plus the added value of working with a lighting designer, needs to be communicated to related professions, clients and endusers. However, new technologies and the scope they offer, as well as the latest research findings, demonstrate the need for more education on the part of the lighting designer him/herself to ensure clients’

needs and forthcoming standards can be met.PLDC 2015 will address education on all these levels, taking the lighting design community’s efforts a step further and contributing towards all involved being able to make an educated decision in future! THE PROGRAMME The Convention will be structured around four series of simultaneous sessions addressing Lighting Application Case Studies, Lighting Application Research, Professional Practice Issues and Light and Culture. Speakers from diverse areas of interest will be presenting papers and talks, of which the keynotes would be delivered by Prof. Dr. Arnold, Nesselrath, Riccardo

Marini, Ilaria Aboondandolo, Klaus Obermaier and Michele Molé. Besides an intensive schedule of academic presentations, the convention will also include various other activities, such as manufacturer’s exhibitions, workshops, competitions, poster presentations and experience rooms. Being held in Rome proves as the perfect setting to explore the historic, cultural, and at the same time a very cosmopolitan city. A number of excursions will be organised for the attendees – Sistine Chapel, House of Augustus and Baths of Diocletian as well as the Maxxi Museum and Auditorium. www.pld-c.com

LIST OF SPEAKERS: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26.

Abhay Wadhwa/IND/USA Allan Ruberg/DK Dr. Anadi Martel/CDN Andrew Sainsbury/AUS Alberto Pasetti/I Aleksandra Stratimirovic/SRB/S Dr. Amardeep Dugar/IND Anne Bay/DK Anne Bureau/F Arne Hülsmann/D Arve Olsen/N Astrid Poulsen/DK Athanassios Danilof/GR Dr. Aurelién David/USA Björn Meyer/D Brett Anderson/USA Carlo D’Alesio/I Dr. Carlo Volf/DK Carolina de Camillis/I Cehao Yu/RC/UK Cesar Castro/PER Gillian Treacy/UK Fabio Aramini/I Dr. Elettra Bordonaro/I/UK Eik Lykke Nielsen/DK Deborah Burnett/USA and James Benya/USA 27. Dr. Craig Bernecker/USA 28. Claudia Paz/PER

29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57.

Prof. Dr. Claude Demers/CDN Claire Hamill/UK Cinzia Ferrara/I Chris Precht/A/RC Prof. Dr. Günther Leising/A Iain Ruxton/UK Inger Erhardtsen/DK Isabel Sanchez Sevillano/E/USA Isabel Villar/RCH/S James Duff/UK Joe Vose/UK Johann Gielen/D Prof. Dr. John Mardaljevic/UK Jonathan Rush/UK Dr. Karolina Zielinska-Dabkowska/PL/CH Katja Schiebler/D Katrin Müllner/D Kerem Ali Asfuroglu/TY/UK Dr. Kevin Houser/USA Lars Oliver Grobe/CH Lone Stidsen/DK Mahdis Aliasgari/IR/S Majid Miri/IR/S Malcolm Innes/UK Dr. Marco Frascarolo/I Marco Palandella/I Marina Silkina/RUS Marinella Patetta/I Martin Valentine/UK/UAE

58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86.

Maurice Asso/RL Michael Grubb/UK Dr. Michael Royer/USA Mona Sloane/UK Nathan Savage/UK/UAE Neil Harbisson/UK Nitika Agrawal/UK Nona Schulte-Römer/D Oliver Stefani/D Paul Boken/CDN Paul Traynor/UK Pernille Krieger/DK Peter Raynham/UK Piergiovanni Ceregioli/I Rachael Nicholls/UK/AUS Phil Supple/UK Roberto Corradini/I Roger Narboni/F Roslyn Leslie/UK Shuyu Chen/TWA Dr. Simon Simos/CH Sophie Caclin/F Stephanie Denholm/UK Susanna Antico/I Tapio Rosenius/FIN/E Tomasz Klimek/PL Veronika Mayerböck/A Prof. Werner Osterhaus/DK Ya-Hui Cheng/TWA/AUS



Pic: Courtesy of Little Sun

solar flair mondo*arc’s Femke Gow visited Moshi, Tanzania with Olafur Eliasson’s Little Sun solar powered lamps. A global project bringing light to those who need it most. Danish-Icelandic artist Olafur Eliasson is renowned for his large light installation artworks that serve as social experiments of light. However the Little Sun project has a more specific purpose than artistic experimentation. The Little Sun is a social business and global project based in Berlin, Germany alongside Eliasson’s main studio. First introduced in 2007 at the Tate Modern in London, UK, the initial exhibition taught visitors about solar power, the global energy challenge, light and its importance in and for life. It is a high-quality solarpowered LED lamp with a versatile 6 x 6cm single cell mono-crystalline solar module developed in collaboration between Eliasson and engineer Frederik Ottesen. Five hours of sunlight yields ten hours of soft light or four hours of bright illumination, intended

to survive three years of continuous use. Little Sun is an inclusive social business that works with local entrepreneurs to build profitable local businesses. The project addresses the need for light in a sustainable way that benefits communities without electricity, creates local jobs and generates local profits. With distribution in over ten African countries as well as in Europe, Canada, Australia, Japan, and the US, the Little Sun project has distributed over 250,000 Little Sun lamps worldwide since its inauguration and shows no signs of slowing. The mission has two parts; to provide clean, solar-powered lights to as many people worldwide as possible, and to strengthen off-grid communities from the inside out, training young entrepreneurs to become Little Sun sales agents and power

their small business with an initial seed capital of lamps, helping begin a career working towards sustainable solutions to long-standing concerns. Little Sun’s combination of design and

Pic: Studio Olafur Eliasson


Pic: Studio Olafur Eliasson

Pic: Charina Cruz

Pic: Charina Cruz

Pic: Charina Cruz

Pic: Little Sun

Charina Cruz photographed TAFCOM-sponsored families receiving their Little Sun lamps from Femke Gow (right), built and developed by Olafur Eliasson and Frederik Ottesen (pictured above).

engineering has allowed for one lamp to be delivered to an off-grid community at a locally affordable price for every one sold in an area of the world with electricity. mondo*arc learned first hand exactly how the Little Sun can affect the education, sanitation and daily lives of families without access to electricity. Through collaboration with Programme Manager Nie Mashafi, General Director Jonas Kyanfura, and Chair Person Charina Cruz of TAFCOM (Tanzanian Organization Facilitating Community Development Projects), our Editorial Assistant Femke Gow made four home visits to families in off-grid areas with children who attend the TAFCOM Children’s Centre and are given funding for school fees, supplies and meals. The families visited currently use kerosene oil lamps, which give

off only a small flame, similar to that of a match. The oil is expensive, poisonous and ineffective. The families expressed how the Little Sun would affect their daily lives particularly for the children attending school who can now do their homework at home in the evening. They will be able to walk safely in hours after dark using the Little Sun’s strap, particularly when going to the outhouse building from their homes at night. Further to this, they will be able to maintain a higher standard of cleanliness and sanitation in their homes with increased visibility. The amount of money saved in not buying kerosene will even be enough to enable some families to afford a larger room to live in (a total of $4,700,00 saved on energy expenses in off-grid households). One

mother even pointed out that she would now be able to see when changing her baby at night. Of the 271,000 lamps that the global project has sold so far, 126,000 of them have been distributed to those in off-grid areas, and mondo*arc was humbled to be associated with even a few. A testament to Eliasson’s vision and artistic drive that is so intertwined with humanity and connectivity, he designs with a focus on social impact and behaviour; the Little Sun is no exception. With the aid of light as a social and essential gesture, lives are enhanced towards brighter futures using our greatest source of natural light, one handheld sun at a time. www.littlesun.com www.olafureliasson.net



CUBe kingdom Lamp Lighting’s fluorescent cubes form the dynamic light-tight facade of the Reyno de Navarra Arena in Pamplona, Spain; offering an interactive manipulation of the building’s event-specific appearance. The Reyno de Navarra Arena in Pamplona, Spain, is a new multi-functional space created to house more than 10,000 spectators under cover. Like all Reynos (Kingdoms), it has a treasure hidden inside - the versatility of use. Not conventional versatility, using the same space for different uses, but the versatility to change the space, metamorphosising the building to fit the user’s needs. The implementation of scenographic strategies allows allocation of multiple spaces where traditionally there were only two. The newly created space, extended over an area of 11,000m2, allows an ingenious and sophisticated system, converting two separate spaces into one large space. The façade was a particularly important element in the lighting project. As the outer skin of the building it defines and identifies the arena, thus emphasising the roundness and simplicity of its volume and

the complexity of the architectural solution. It consists of an array of outstanding translucent modules alternating with metal blind spots only altered by a series of deep horizontal cracks that show its thickness, resulting in an eerie dimensional texture. The strategy of action in this case was to add value to both its three-dimensionality by illuminating each cube (manufactured by Lamp Lighting) and its depth - by dimming the top surface of the cracks. The cube fittings are of an accurate specification and unique design, with corresponding louvres and lenses lighting two sides and part of the adjacent façade with a more intense light; the central face is illuminated in a more subdued manner. The lighting is controlled by an intelligent system, so that each cube acts as a cell with independent light, creating a non-uniform, dynamic and vibrant lighting effect throughout the entire façade, giving the impression of movement.

The dynamism of the façade can offer different mutations of the building related to the activities being performed in the pavilion. The arena’s light-tight façade is made of cubes of an IPX5 level of protection rating, 230V and a fluorescent lamp. Each cube is 160x160x40cm, backlit by two T5 2x39W lamps and regulated by a Dali system. The envelope is thermoformed opal polycarbonate UV and impact IK10 resistant. Inside there is a structure of galvanised iron accessible for handling available lamps; all with electronic ignition with dimming of light by intelligent protocol. The fluorescent lamps form part of the APM asymmetrical headlights, reflectors and louvres included. The reflectors are made of very high purity aluminium, anodised and sealed, with photometric resolution with clipping MKA type beam in order to achieve the lighting effect on the envelope defined in the design. www.lamp.es

Tel 44 ( 0 ) 208 348 9003 Web www.radiantlights.co.uk email david@radiantlights.co.uk

Bridge number 5, Amsterdam Lighting design by lichtontwerpers Amsterdam light festival 2014

3D LED Flex 40 IP65 - Modular, 3D flexible LED linear lighting system. Lensed version with anti-glare snoots, custom colour paint finish and custom height brackets.

Design by

Mondo August 2015 half page.indd 1

04/08/2015 17:50:05



David Morgan reviews the TTX2 Series - Mike Stoane Lighting’s latest range of spotlights developed to optimise LED light sources without any halogen options and designed to incorporate both reflector and TIR lens optics.

‘x’ marks the spot

TTX2 with two dimming array holes

If racing go karts through the factory is a leading indicator of creative activity, then Mike Stoane Lighting scores highly, as this is one of a variety of extra-curricular activities that the company undertakes after normal working hours. Ownership of the company, started by Mike Stoane in 1995, has now passed onto the management team headed by Dave Hollingsbee with Alistair Kay as Head of Development, but the company continues to produce the high end architectural lighting equipment for which it has become famous in the lighting design community. The minimalist luminaire product range is mainly based on turned and machined elements. These metal work components are manufactured either in-house or with sub-contractors located near to the company’s HQ in Scotland. This design and manufacturing approach results in an austere, stripped-down aesthetic that many architects and lighting designers appreciate.

TTX2 Mini

Track spotlights have been an important part of the Mike Stoane range since the late 1990’s, with the Museum of Scotland being the first of many gallery and museum projects to be lit with its equipment. The latest range of spotlights, the TTX2 Series, has just been launched and is a continuation of the same theme of construction and minimalist appearance as the previous Type X range, but has been developed to optimise LED light sources without any halogen options. Mike Stoane Lighting has worked closely with a small number of component suppliers including Xicato, Eldoled and Eutrac to ensure that the new range offers the best possible features and capability. Eutrac has finally introduced a DALI version of its LV low profile track system. The track adapter for this is very low profile, giving a small projection from the ceiling. This track system has four conductors, which allows the Xicato XIM module to be driven from a

TTX2.70 LV

remote 48V power supply with a separate dimming signal / data channel. Mike Stoane’s existing line voltage track adapter is used to power the Xicato XLM modules, which are driven by an Eldoled driver housed in a track mounted gear enclosure. Mike Stoane Lighting was an early adopter of the Xicato remote phosphor LED modules with the new range designed around the latest XTM and XIM versions. They make a good fit as they both target the same niche market of lighting designers who place a high value on colour consistency and colour stability. I reviewed the Xicato XIM module in a previous article and was impressed with the integrated driver complete with dimming interfaces for DALI and 1–10V. The XTM module operates with a remote constant current driver and is now available with a 9mm light emitting surface as well as the standard 19mm diameter. The 9mm diameter LES allows much tighter beam


Below The range of accessories and finishes available for the TTX2 Series.

angles to be achieved than with previous Xicato modules and Xicato has developed its own range of reflectors including an 11º version incorporating louvres. The TTX2 range is designed to incorporate both reflector and TIR lens optics. The ‘fried egg’ effect often seen with reflectors and lenses combined with COB LEDs of a tight central beam, surrounded by a wide aura is minimised with the Xicato reflector. The colour temperature variation ring effect is also reduced with the use of good quality TIR lens optics. The wide range of anti-glare and beam control accessories that Mike Stoane has developed for previous spotlight ranges including honeycomb louvres and barn doors can all be fitted to the new range. Up to two accessories can be added to each spotlight and are now inserted from the front with a retaining spring after feedback from users who requested a faster way to add and remove accessories.

Successful dimming of LED light engines can still be problematic, but Mike Stoane Lighting has worked closely with Xicato and Eldoled to ensure that the state-of-the-art dimming performance is standard for the new range. The Xicato XIM modules dim down to 1% for 1-10V and 0.1% for DALI versions using a combination of PWM and CCR dimming and incorporate the closest thing to flickerfree dimming so that any stroboscopic and banding effects with television and smart phone cameras are minimised. Eldoled drivers are used to run the Xicato XTM modules and with a custom interface this enables manual dimming on the track box as well as remote DALI control – the best of both worlds that up to now, was not available with LED spotlights. Future developments for the Xiacto XIM include Bluetooth control. In retail, this could allow information to be transmitted to customers’ smartphones via Bluetooth,

about particular products by highlighting them with a suitably equipped spotlight or transmitting information about particular exhibits in galleries and museums. TTX2 Series is a well-engineered and versatile track spotlight range that incorporates many of the most sophisticated components available. I am sure that it will attract the attention of lighting designers and be specified for use in many museum and gallery projects over the next few years.

David Morgan runs David Morgan Associates, a London-based international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting. Email: david@dmadesign.co.uk Web: www.dmadesign.co.uk Tel: +44 ( 0) 20 8340 4009 © David Morgan Associates 2015



Technology expert Dr Geoff Archenhold was recently a speaker at the Smart Lighting conference in Berlin. Luckily for you he hung around to give you the low down on the platform for connected lighting combining the interests of stakeholders from the lighting, the semiconductor and ICT industry.

smart lighting berlin I recently had the pleasure of attending the Smart Lighting Conference in Berlin at the end of May and I had massively mixed emotions about lighting by the end of it. You may well be wondering why, especially as the conference was designed to discuss the future of lighting and the new technologies associated with it. On the one hand, as a self-confessed technologist, I was excited about the features, functions and opportunities that will be coming soon. However, I felt great sadness as I foresaw the death of so many established lighting companies over the next five years whilst the business model of the lighting industry is changing forever within such a short timescale, there is no escape for many of them. What is Smart Lighting? In order to start off I should perhaps cover the many definitions of Smart Lighting such as: “Smart lighting is a lighting technology designed for energy efficiency. This may include high efficiency fixtures and automated controls that make adjustments based on conditions such as occupancy or daylight availability,” from Wikipedia Rensselaer Polytechnic Institute defines Efficient lighting systems that: (a) ‘see’ where the light is going and what it is doing, (b) communicate using light to send information and enable lighting information processing, and (c) have novel control systems that ‘think’ about what the light needs to be doing to meet the expectations and requirements of people. The overall vision for smart lighting is clear but how we (as an industry) deliver the vision is what concerns me and several of the speakers and audience members touched on this during the two days as I will now try and explain. Light fixtures to be given away for free! There were several large players most

notably GE discussing their vision of smart lighting and smart cities but the big news was the surprise comments that the cost of LED fixtures are so heavily commoditised that within a couple of years they will essentially be given away! This prediction has a massive impact on the lighting fixture community and they will undoubtedly come under pressure to remain profitable as LED fixture pricing erodes further and in turn we will inevitably see big failures across the industry. I predict many traditional lighting players which have large overheads (or indeed pension liabilities!) that cannot respond to the new market dynamics and cannot downsize will simply disappear. The new world will be made up of lighting companies that can either become system integrators and provide complete solutions from fixtures, drivers and controls to cloud services or they downsize and supply only what they are good at to other systems integrators and try and maintain margins if they can. The real difficulty with trying to focus on specialisation is that: • Well-financed companies can provide a complete lighting system free of charge and then lease the installation back to the end user. In other words the building owner outsources the whole building management (not just lighting). • A variant of the above is to charge a cost for using the lighting system or ‘pay per lumen’ concept currently promoted by Philips Lighting and others. • Traditional fixture-only companies will be locked out as they do not have the financial backing to offer free lighting fixtures and will also suffer profit margin erosion as the cost of fixtures plummet. • Independent controls companies will either have to merge or acquire fixture companies to offer complete solutions or be acquired themselves as the cost of control systems will be the next segment of lighting that will be eroded quickly especially with the Internet of Things concept. • LED fixtures will not catastrophically fail so the need to replace LED fixtures in the

future will continue to drop and compound the issue for fixture manufacturers as the total addressable market will begin to reduce in size. • Smaller companies will be able to compete due to technology innovation but they will either be acquired by the large companies or stay small focusing on niche applications. The price erosion is lethal and today one can purchase LED panels from quality companies at less than £50 whereas only two years ago they would have cost well over £150 and if you decided that you wanted to go for unbranded products then the costs drop to below £25 for a 600mm x 600mm panel these days. This is why you can see the lighting industry leaders such as Philips, Osram and others changing their strategies rapidly to cope with the new world that is coming! What happens to all the companies in between is anyone’s guess but how can you compete with LED fixtures in two years’ time that are perhaps only £10 per fixture, where is the profit in that? This is why there is such a rush to deliver Smart Lighting as a concept as the only sure way to generate future revenues for lighting companies will be to develop a service model that end users will pay for. How will Smart Lighting be used? The key lighting companies such as Philips and GE highlighted the need to focus smart lighting on specific areas including: • Street lighting (over 290 million streetlights are installed globally - less than 1% of all the streetlights are connected • Public and Commercial Buildings (they represent 60% of global lighting-based electricity use but just 20% of office buildings today have some form of lighting controls) • City-wide solutions • Energy and Sustainability • Communications • Weather warnings • Maintenance and Operations • Physical Infrastructure


GE’s presentation included their vision of streetlevel analytics via their Predix software platform.

The key point of many of the presentations were that lighting companies are going to have to morph into data analytics companies very soon – how many do you think will make the transition? The GE presentation showed a glimpse of how companies in other sectors are making the transition and highlighted how sophisticated their engine division operates whereby all parameters of the engines are monitored and logged which creates mountains of data (often referred to as big data) but then this has to be analysed, stored and reported in a very secure way. The GE engine division actually creates a significant revenue from added data analytic and servicing which is where GE lighting seems to be heading. In terms of data analytics then there were similar visions at street level from GE, Cisco and Osram that could yield fantastic opportunities for both city management and end users. Cisco concurred with this vision in its presentation although they went a step further to include other sensors within street lighting such as noise detectors and so forth to provide further data and information. The real question will be can such sophisticated systems be deployed cost effectively in the near term or is it a step to far from reality? Issues with smart lighting today Several of the presenters discussed why Smart Lighting is disliked by many, mainly because users are often not happy with the results; installers find the systems complex to install and commission; owners get a limited financial return, but also experience many problems due to complexity and

reliability; and there is no one standard operating system that can share crossdomain information so have to use conventional BEMS or BMS systems as core. I have actually heard that over 70% of today’s advanced lighting control systems are turned off after three months from installation because the systems have stopped operating correctly and are irritating users, it’s too complex to change the system when the building use changes, any changes are expensive to make as the system requires a commissioning engineer to attend amongst many other aspects. Biodynamic Lighting Nils Erkamp who is involved within the EU funded SSLerate project highlighted that smart lighting needs to be also human centric lighting and showed there was definitely a value added proposition for the industry to focus on and reference some work by consultancy AT Kearney. Key beneficiaries of human centric lighting will be industrial, education, healthcare and elderly and this could save over €12.8bn by 2020 from improved productivity, less errors and less sick days as shown. The issue of privacy and security Osram highlighted that one of the greatest challenges facing new technology is that of privacy and security. This is an area where lighting companies need to learn from the IT leaders that have gone before them such as Microsoft, Google, Apple, Facebook and so forth by having robust user data licencing. The key aspect for me will be security of the lighting control system as I have been working with several universities for nearly

three years to develop iMune, a secure lighting and building management control system that utilises open-standard Ethernet technologies to provide a scalable and secure system which is easy to configure and change whilst taking only a few hours to commission from start to finish. What I am concerned about is that network security is completely alien to most lighting companies and they do not have the skillsets to deliver on security therefore I advise everyone to work with lighting security specialists to roll out future lighting applications (unless you want them to be compromised). Conclusions There was so much to listen to at this event and so many different viewpoints on how to deliver smart lighting in the future. I am excited that no matter how people may resist I think smart lighting is going to be delivered by 2020 whether we like it or not! The main aspects are these systems need to be cost effective, secure and simple to deploy and use otherwise the industry will be chastised for not delivering on its promises. As I said at the start, not many of our friends and colleagues will be left in the industry from 2020 onwards and the survivors can rightly claim to be smart enough! www.smartlighting.org Geoff Archenhold is an active investor in LED driver and fixture manufacturers and a lighting energy consultant. The views expressed in this article are those of the author and do not necessarily represent the views of mondo*arc. You can contact him on: g.archenhold@mondiale.co.uk



industry instruments A selection of essential lamps and gear.


Dim to Warm Megaman This latest line of LED products, featuring Dim to Warm technology allows improved performance following the curve of filament lamps while enabling LED lamps to emit a warmer light as dimmed. It also makes it possible to offer true fit sizes and shapes across Megaman’s range of LED retrofit lamps, making it the widest offer available with the look and feel of old technology but with all the benefits of LED. www.megamanlighting.com

Eco-Filament Factorylux

With the same cap and bulb size as traditional pear shaped filament bulbs, rated A for energy consumption and fully compatible with existing E27 lamp holders, the Eco-Filament produces a warm light – 2,300K and 350 lumen dimmable. It is rated at 7.7W, 230V and 50Hz – just an 1/8th of the energy consumption of 60W filament bulbs. It also exceeds all applicable UK and EU standards for safety, ecodesign and electromagnetic interference and retains at least 80% of their original brightness at 25,000 hours. Testing shows the lamps can be switched over 50,000 times. www.urbancottageindustries.com

AR111 Lamp Ledon Featuring a luminous flux of 780lm and a power consumption of 13W, its flicker-free warm white light, featuring a colour temperature of 2,700K, boasts a colour-rendering index of 95 Ra. It also features an optical reflector lens designed to look like a conventional halogen reflector. Uniform and wellbalanced light distribution at a perfect beam angle of 40º is ensured. www.ledon-lamp.com


LED Filament Lamps Enigma Lighting Available in six shapes - Squirrel Cage, 125mm and 95mm Globe, A60, Candle SES and 35mm SES globe, the mains dimmable LED filament lamps offer an alternative to the more inefficient and expensive halogen version. The lamp comes in 2,200K as standard, giving a warm, candle light colour and can be dimmed from 100% to 0% via mains dimming. www.enigmalighting.com

HaloLED Kosnic The Kosnic HaloLED GU10s are an ideal retrofit replacement for halogen GU10 lamps. The range includes 5W, 6W and 7W models, plus a fully dimmable 7W option. The LED lens and COB (chipon-board) technology replicates the sparkle and ambient light of halogen while allowing significant energy savings up to 90%. Suited for use in restaurants, bars and hotels where ambience is an essential factor. www.kosnic.com

Filament LED Lamps LUX In partnership with Lattice Power, LUX introduces a line of dimmable filament LED Edison lamps - the ideal energy efficient replacements for 25W, 40W and 60W incandescent lamps. With its glass design, it emits the same warm light as an incandescent bulb with the long life and high efficiency benefits of LED lighting. Offering 90% energy savings and an efficacy of over 135l/W, the lamps eliminate the need to sacrifice design for efficiency in restaurant, hospitality and residential spaces. The lamp has a UL certified LED filament, engineered with proprietary protection coating, without a cloudy look. www.luxtg.com


Vector Lumino Vector is one of Lumino’s new High CRI products, reaching up to Ra95 and up to Ra98 for the CRI Pro range. With high Ri values across the whole R1-R14 colour palette, colour is rendered to a high standard. The new proprietary phosphor-core from Lumino converts single frequency 450nm blue light into full spectrum, visible white light with strong rendering of reds, blues, greens, oranges and yellows. High CRI is available in an all new CCT palette starting at Candlelight Warm White 2,000K with 2,400K, 2,700K, 3,000K, 3,500K, 4,000K and 4,500K. www.lumino.lighting

OLED Light Panels LG Chem The plastic-based flexible LG Chem OLED light panels are now commercially available. The panels have efficacy of 60lm/W with 3,000K CCT. The plasticbased substrate eliminates the danger of shattering when excessive force is applied. The flexible panels have a CRI of 90 and above with less glare and low heat emission. Because of its unique physical properties the flexible panels offer a variety of options in the world of lighting applications and luminaire designs. www.lgchem.com

XLamp XHP Family Cree

2nd Gen COB LEDs Luminus

Cree has expanded its XLamp XHP family - the first commercially available LEDs to take full advantage of Cree’s SC5 technology platform. The XLamp XHP50 and XHP70 LEDs offer advanced light output, colour consistency and design flexibility; delivering up to 2,546lms at 19W from a 5.0 x 5.0mm package and up to 4,022lms at 32W from a 7.0 x 7.0mm package, respectively. www.cree.com

Luminus has announced its second generation Chip-on-Board (COB) LEDs, ideal for a broad range of indoor and outdoor lighting applications. Options include the 95+ CRI Accuwhite as well as the pure white, GAI 105 below black body Sensus products, both of which are suited to retail lighting applications. Available now in volume, the 3,000K, 80CRI models deliver typical efficacy of 130lm/W at 85C.  www.luminus.com

EMITTERS Luxeon COB Core Range Lumileds

DURIS S10 Osram This new LED is characterised by high efficiency, high light output and uniform colour appearance. Efficient SMD technology makes assembly simple, meaning significant cost savings in system and optic design, which may be as high as 30% depending on the particular customer application. Duris has a compact footprint and is available in two output classes with up to 1,400lm. It simplifies the design of lamps and luminaires and is ideal for use in spotlights, downlights, and directional and omnidirectional retrofits. www.osram.com

With the Gen 2 range, Luxeon COB Core delivers an average of 10% higher efficacy and 10% higher flux with a lower voltage and the same footprint. Offered in multiple lumen packages from less than 1,000lms for MR16 and PAR lamps, up to 7,600lms for 100W CDM replacements; colour options include the popular 2,200K for a candlelight ambiance and very efficient 90 CRI parts for high quality of light. For ease of upgrade, the Gen 2 products are fully compatible with Lumileds first generation of COBs. www.lumileds.com



Optical Light Engines Soraa

XIM Xicato Based on Xicato Corrected Cold Phosphor technology, XIM LED modules offer the colour rendering, flicker-free dimming and light quality required for the most demanding applications. Instead of a dedicated LED driver, XIM uses a 48V low voltage power supply, making it future-proof. With an onboard microprocessor XIM modules enable intelligent lighting with deep dimming to 0.1% with DALI and 1% with 1-10V. Dual-stage thermal protection ensures lifelong safe and reliable operation. www.xicato.com

A low profile series of light engines that provide fixture manufacturers access to Soraa’s full visible spectrum GaN-onGaN LED technology. From narrow spot to flood, the light engines produce high CBCP, while the optical design provides great beam definition and smooth edges. Soraa’s engines are available in three sizes: 11, 16, 30 (or 1.5 inches—37mm, 2 inches—50mm, and 4 inches—100mm diameters); lumen outputs of 500 or 1,000 (in 95CRI); 9°, 10°, 25° and 36° beam angles; 2,700K, 3,000K, 4,000K, and 5,000K colour temperatures; and with an optional heat sink. Additionally, Soraa’s narrow spot beam light engines work with its magnetic accessory SNAP system. www.soraa.com

The new TALEXXmodule SLE G5 XD Advanced produces a high luminous flux of 5,000lm in modules with small LES, which means that merchandise in shops can be illuminated more precisely with a narrow beam angle. The basis for this technology is Phosphor Settlement from Tridonic, which significantly improves the cooling of the module and therefore offers the ideal solution for all applications in which flux density (lm/mm²) is a major consideration. www.tridonic.com

The Bridgelux Vero LED packaged array technology offers new advancements in design flexibility, ease of use and energy efficiency. It also offers a platform for integrating smart sensors and wireless communication technology for smart building control systems. It can operate from 400 to 16,000lms and is available in four different LES configurations with colour temperatures from 2,700K to 5,000K and a variety of CRI options. www.bridgelux.com


TALEXX Tridonic

Vero Series Bridgelux

InMODULE Strada is a constant current LED module compatible with Ledil Strada-module lenses. A flexible low/ high-bay or street-lighting solution with three basic dimensions - 50mm x 60/110/160mm and 4/8/12 LEDs respectively, allows the assembly of multiple Cree LED types (XP Series, XT-E, XHP), offering up to 6,180lm per module and different maximum power and efficacy. All three boards have an option for temperature feedback with NTC thermistor. www.indata.si

LED50 and LED70 Modules Lucent LED50 and LED70 are dimmable LED modules that warm up the colour of light as they dim - in the same way as conventional tungsten lamps. Available in 50mm or 70mm with 80> CRI, the multi optic LED 1,700lm module is available with a narrow spot 14°and 32° flood optics. With 3,000K – 2,200K and 2,700K – 2,200K versions available, the module maintains 80> CRI throughout the dimming curve. Each can be run at different drive currents up to a maximum of 700mA, uses standard 1000mA dimmable drivers of any dimming protocol and is suited for use in all ProSpex and ProSpex Plus LED luminaires. www.lucent-lighting.com


CLZ 33W EyeNut Driver with ZigBee Dongle Harvard The CLZ 33W EyeNut driver with ZigBee dongle combines CoolLED driver technology with EyeNut monitoring and management system for indoor lighting, providing individual luminaire control through a web interface as well as allowing energy consumption management. The 33W driver, which operates at 2.4GHz and offers dimming down to 1%, is available in built-in and remote variants. The ZigBee dongle enables the original platform to be maintained and is SELV compliant. The driver is suited to retail, office and hospitality installations. www.harvardeng.com

CV DALI Range Helvar

The constant voltage (CV) DALI dimming extension range allows several LED packages to be installed in parallel with up to a maximum current of 5A. The CV range delivers a host of benefits including low system standby power, while the 24V power supply reduces power loss over LED strips. The DALI input of LL1 x CV-DA is mains rated and double isolated from power input and load, offering a high degree of protection making it suitable for Class I, II and SELV luminaires. www.helvar.com

RCOB Series RECOM The driver series includes eleven models with output voltages between 25 and 44VDC and constant output currents of 350 to 1050mA. The drivers come with active PFC (>0.95), and achieve efficiencies of up to 90%. A compact design (106 x 67 x 22mm) ensures easy integration into lighting systems. The inputs and outputs are located on the same side, making installation straightforward. The drivers of version RCOB-A come with a one to ten V input and can be dimmed from 0 to 100%. www.recom-international.com

CONTROL GEAR L05031 Lumotech

All-in-One LED Driver Fulham The all-in-one programmable LED driver/ emergency battery back up combo unit eliminates the need for a separate emergency system within an LED fixture. A handheld programmer can be used to adjust output current from 250mA to 1450mA, as well as setting dimming curve (0-10V), voltage, address and more. The emergency power output and run time can also be adjusted. Universal voltage input and compact size allow maximum design flexibility. www.horse.fulham.com

PWM Series Mean Well Ranging from 40W to 120W, Mean Well PWM Series is engineered to dim LED strips via conventional analogue dimming signal or digital DALI command. Its housing, with IP67 protection, allows use in humid and dusty environments, both inside and out. It meets the most recent LED regulations and for wireless solutions, WPD-06 featuring a rocker/button without battery is most suitable for new and refurbishment projects. www.meanwell.com

The L05031 is a versatile 30W driver, offering excellent value for money and a very wide operating window, ensuring that one driver can be used for multiple fixtures. The L05031 is in an extremely compact form factor and therefore particularly ideal for (track) spot applications as fixture designs become smaller and more streamlined. This is one of a suite of new products from Lumotech (including DALI drivers and outdoor-rated drivers) all featuring low inrush, wide voltage range, selfregulating temperature control and a five year warranty. www.lumotech.com

event calendar

Downtown Design October 27-31 Dubai, UAE www.downtowndesign.com

PLDC October 28-31 Rome, Italy www.pld-c.com

Acetech October 28 - November 1 Mumbai, India

Iluminotronica October 8-10 Padua, Italy www.illuminotronica.it

IALD Enlighten Americas October 8-10 Baltimore, USA www.iald.org

Codega International Lighting Prize October 9 Venice, Italy www.premiocodega.it

100% Design September 23-26 London, UK www.100percentdesign.co.uk

darc night September 24 London, UK www.darcawards.com

Design Junction September 24-27 London, UK www.thedesignjunction.co.uk/london

Foscarini........................................... 192 Gandia Blasco..................................... 11 Loco Design..................................... 191

Lucifer................................................... 7 Kundalini............................................. 15 Oluce.................................................... 9

Hong Kong International Lighting Fair October 27-30 Hong Kong, China www.hktdc.com

Light Middle East October 6-8 Dubai, UAE www.lightme.net

Shanghai International Lighting Fair September 23-25 Shanghai, China www.light.messefrankfurt.com.cn


Lighting Japan January 13-15, 2016 Tokyo, Japan www.lightingjapan.jp

China (Guzhen) Intl. Lighting Fair October 22–26 Zhongshan, China www.gzlightingfair.com

LED Lighting Exhibition October 1-4 Istanbul, Turkey www.ledfuari.com

LpS September 22-24 Bregenz, Austria www.led-professional-symposium.com

PLDC................................................ 173 Radiant............................................. 177 Serenity............................................. 177


Light India + LED Expo December 3-5 New Delhi, India www.theledexpo.com

Saloni Worldwide October 14-17 Moscow, Russia www.salonimilano.it

LED+Light Asia September 29-October 1 Singapore, Republic of Singapore www.ledlightasia.com

vis a vis.............................................. 4-5 Waldmann.......................................... 13 Wibre................................................ 171

write to us at: mondoarc@stir.lighting

For Media Partnership

Design Lighting January 13-15, 2016 Tokyo, Japan www.light-expo.jp

Sleep November 24-25 London, UK www.thesleepevent.com

Strategies in Light Europe November 18-19 London, UK www.sileurope.com


Interlight Moscow November 10-13 Moscow, Russia

Decorex September 20-23 London, UK www.decorex.com

Rethink the Night October 12-16 Kea Island, Greece www.rethinkthenight.com

Tent / Super Brands September 24-27 London, UK www.tentlondon.co.uk

London Design Festival September 19-27 London, UK www.londondesignfestival.com

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A definitive moment in a design process that exemplifies the interaction of light and space, captured in time.

I took this photo in Crown Heights Brooklyn at a subway station at about 9 am. In the midst of rushing to work I saw the ironwork of the train station create this ‘shadow carpet’. I was struck by the unexpected jewel-like beauty that only appears for a short time everyday. Transitional art in the middle of mass transit.

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Crafted excellence with modern luxury.

Creating beauty in every surface.

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mondo*arc india issue#04 Sep/Oct2015